
■lass 

it 



Book 



Shakspeare's Genius Justified: 

^ . 

EEIXG 

RESTORATIONS AND ILLUSTRATIONS 

OF 

SEVEN HUNDRED PASSAGES 

i 

WHICH HAVE AFFORDED 

ABUNDANT SCOPE FOR CRITICAL ANIMADVERSION; 

AND 

HITHERTO HELD AT DEFIANCE THE PENETRATION 
OF ALL 

SHAKSPEARE'S COMMENTATORS. 
By Z. JACKSON. 



They are all plain to him that understandeth, and right to them that find knowledge. 

Pi-jierbs, chap. Tiii.' 



LONDON: 

Printed by J. Johnson, Apollo Press, Brook Slreet, Holborn, 

FOR JOHN MAJOR, N» 18, SKINNER STREET. 



1819. 



^ 



TO 



I'll ABSffMBBBS ©IF SmABSffBABBs 



THE POET OF NATURE. 



WHOSE FAME CANNOT PERISH 



THE LANGUAGE IX WHICH HIS INIMITABLE WORKS ARE WRITTEN. 



THIS VOLUME, 



WHICH AIMS AT 



PLACING AN ADDITIONAL WREATH ON THE BROW 



Cfje Immortal SSavtr, 



IS MOST RESPECTFULLY INSCRIBED, 



THE AUTHOR. 

Leu don, Dec. 30, 1818. 



PREFACE. 



It was the fatality of the greatest Dramatic Poet the 
world ever produced to flourish at a period when genius 
rarely found its merited reward, and when that art, 
which is the salt of literature, and which was to transmit 
to futurity his inimitable productions, was but in its in- 
fant state. 

Regardless of immortalizing his name, he who had 
penetrated the most hidden stores of Nature; he who 
had studied man in all his various capacities and fail- 
ings; he to whom the retrospect of all that had been 
seemed familiar, and who, as it were, looked into the 
very soul of time, and read futurity, yet would not see 
his own greatness beyond mortality, but suffered the 
hand of ignorance to plant sickly weeds among his ever- 
blooming flowers, and which the unabated exertions of 
genius, for more than a century, have not been able to- 
tally to destroy. 

Many, indeed, have been the labourers that toiled iii 
the extensive garden planted by the Immortal Bard; in- 
numerable the weeds they separated from the flowers, 
and others rooted up ; many the slips from parent stalks 
they planted, which now flourish, and, blooming in the 
enamelled fields of Nature, display their beauties to 
the gladdening sun. 

But what individual could have gone over the vast 
garden and overcome, even in an age, each twining 
weed that had knitted itself to, and become as a part of 



yi PREFACE. 

the fair stem it grew by ? — Say, ye sons of science, can 
you point out one ? No : And though ages have been 
employed to root up those vicious weeds, yet still are 
they intermixed; nor has the hand of indefatigable 
industry dared, in many instances, to disturb them, 
dreading that, in the exertion, blooming carnations 
must fall with sickening poppies. But whither doth 
metaphor lead? — Fain would she make me tread her 
path throughout the limitation of my prefatory walk, 
and introduce me to the admirers of the Immortal Bard 
as a son of Nature studied only in the exercise of com- 
mon sense. But I must be more; Nature and Art 
must take me by the hand, and, quitting metaphor, 
display how far their fair instructions have aided me 
in destroying those noxious weeds which dared to rear 
their heads 'mongst purest flowers. 

In gloomy obscurity, labouring at times under indis- 
position, the guillotine, as it were, suspended over my 
head, towards the latter period of eleven years' captivity 
in France, misery was almost forgotten in studying the 
writings of the matchless Shakspeare, and in penetrat- 
ing through obscurity to dissipate the misty vapours 
which veiled many of his greatest beauties, that there- 
by his unerring genius might be justified. 

However eminently distinguished Shakspeare's Com- 
mentators, however highly exalted their rank in the 
republic of letters, and however true that they merit 
strong encomium for their indefatigable exertions to 
purify our Author's text from the innumerable corrup- 
tions which, from many causes, had gained footing 
therein, yet did the star of genius often withdraw its 
beams, and suffer the cloud of obscurity to veil from their 
penetration the necessary corrections that would restore 
our Author's readings,, and afford brilliant illustrations 
to several hundred passages! — passages which contain 



PREFACE. Vll 

the most striking beauties inventive genius could pro- 
duce, or Nature's most fertile valley yield for poetic 
scenery. 

The ingenious Author of the Pursuits of Literature, 
in his satirical animadversions on Shakspeare's Com- 
mentators, says, — 

" Enough for me great Shakspeare's words to hear, 
Though but in common with the vulgar ear; 
Without one note or horn-hook in my hand," &c. 

With this very learned Critic, and whose production 
I duly appreciate, I must so far concur, that if we had 
Shakspeare purified from the foul perversions occasioned 
by careless transcribers, the dross of typographical blun- 
derers, the barbarisms of daring interpolators, and the 
obscurities raised upon the fabric of sense by the mis- 
conceptions of early Editors — then, indeed, should we 
have Shakspeare's Words, — then, indeed, would the 
language of Nature be conspicuous, and neither note nor 
horn-book be required in perusing the fair pages of un- 
exampled genius. 

But what must have been the corrupt state of his 
matchless productions at the present day, had not the 
active exertions of enlightened understanding, for more 
than a century, been employed to remove those errors 
which the hand of corruption had diffused throughout ? 
The rich gems undoubtedly would still sparkle, but 
their light could not remove opacity from the incrusted 
diamonds that surrounded them, and which required the 
eye of genius to penetrate, and the hand of judgment to 
clear from the petrifactions in which they were en- 
veloped. To Shakspeare's Commentators, then, we are 
indebted for the comparatively perfect state in which we 
have his Works at present ; and notwithstanding they 
have done much, most of them were aware that much 



Vlll PREFACE. 

more remained to be done; though, in the confidence of 
their own judgment, they conceived the task insurmount- 
able, and that genius could neither restore what proved 
too difficult for themselves, nor add farther light on that 
which they had in vain attempted to illustrate. 

Who, then, will not admit that the Works of our un- 
rivalled Bard become an object of national importance, 
and that critical investigation is a debt we owe him until 
his text be perfectly restored ? Who will not indulge 
the hope that from year to year proofs equal to demon- 
stration may be advanced to expunge corruption and 
display purity? And who will not welcome that truth, 
in garb however humble, which, dispelling the mists of 
obscurity, exhibits the productions of Nature ? For who, 
so vitiate in taste, will drink from the troubled waters 
of impurity, when the well-spring of truth invites to its 
wholesome beverage ? 

It is now little more than three months since I pub- 
lished a pamphlet, entitled, " A few Concise Examples of 
Errors corrected in Shakspeare's Plays:" and perhaps 
we have not many instances where a mere Specimen had 
so rapid a sale : in less than a month a second edition 
was demanded, and which has now also become scarce : 
but however flattered by these marks of public approba- 
tion, nevertheless the intemperate dart of invidious jea- 
lousy was aimed at me.* In truth, it passed by; I heard 
its whizzing sound, but remained perfectly safe; and 
now would I pass by the party from whence it came, and 
leave the disappointed votaries of mammon to fatten on 
their own maliciousness, but that the most active exer- 
tions continue to be used, in order to raise a troop of 



* See the second edition of ray Examples, &c. where, like a ball 
that rebounds, the aimed arrow is made to lodge in the bosom from 
whence it came. 



PREFACE. j x 

Would-be Critics to attack the citadel, where fair fame 
would raise a small standard to the honour of him who 
aspires to be, in part, a Restorer of Shakspeare's Text 
to its original beauty; and who justifies him, where the 
severe lash of animadversion has been falsely aimed to 
wound his unerring genius. 

Indeed, it is truly distressing- to find, that even among 
the higher order of educated genius, the most extrava- 
gant jealousies will arise, when that degrading principle, 
self-interest, is suffered to send its corroding poison to 
the heart. Beholding with jaundiced eye the full gale 
that was set to waft my labours into public favour, a 
paper, called The Literary Gazette, w as employed as the 
vehicle to run down, not only the Examples I had pub- 
lished of my Restorations and Elucidations of Shak- 
spear-e, but also to condemn my unpublished Work, 
(this now offered to fair and honourable criticism :) yea, 
to condemn it even to the flames, that party prejudice, 
like the tyrant of Rome, might rejoice during the con- 
flagration ! But with the Gazette and its Editor I have 
no farther concern: they did their worst, — the reproba- 
tion of impartial judgment attended their temerity; and 
I believe the Proprietor will not again afford cause for 
the index of contempt to be pointed at him. 

That the law of reprisal was necessary to be enforced 
on the occasion, a generous public not only admitted, 
but perceived its effects with glowing satisfaction; and 
here I should have been cautious in farther recrimina- 
tion, but that the asperity of disappointed profit (not 
fame) still circulates its venom, and, under the garb of 
criticism, argues on one particular point, — that my Re- 
storations are founded merely on conjecture! 

Now this remark, however invidiously designed, seems 
better adapted to the labours of all my predecessors; for 



x PREFACE. 

I trust to prove that the principles which have guided 
me, and the clue which I have obtained, bring my Restora- 
tions, in the eye of candour, even to demonstration. 

Shakspeare being, as all our Commentators agree, 
ignorant of both the Greek and Latin languages, of 
what value can either prove in restoring or illustrating 
his text? Upon what principle must a Restorer or Com- 
mentator act? Can he call magic to his aid? or a 
Hecate to conjure the shade of Shakspeare to answer 
questions? Has the erudition of Dr. Johnson or the 
researches of Mr. Steevens enabled either to suggest 
any restorations in Shakspeare but merely on con- 
jecture ? As for preferring the text of one copy to 
that of another, such cannot be called restoration ; neither 
can those impurities in grammar occasioned by ignorant 
transcribers and compositors be considered restoration ; 
for justice to the Author's unerring genius demanded 
that which even lay within the abilities of a village 
schoolmaster. But if any Commentator, studious to 
restore, on principles of reason, the Author that he would 
illustrate on those of truth, ever had an auxiliary at 
command, surely I may safely say that I had one which 
proved most serviceable : — I mean my practical know- 
ledge of the typographic art ; for what penetration dis- 
played, this confirmed, in pointing out how the errors 
originated. Recourse to books I had none ; and con- 
vinced I am that deep researches often destroyed, in 
my predecessors, what the first impulse of reason dic- 
tated ; for, whilst fancy, in the confluence of parallelisms, 
compelled them to seek anchorage in false soundings, 
they accepted any aid rather than be wrecked in the 
stream to which laboured investigation had carried 
them. 

The causes which introduce errors into a work while 
in the hands of a Printer are so numerous, that to re- 



PREFACE. 



XI 



count and explain them would make my preface a vo- 
lume. Indeed, throughout this work, I have been as 
explicit as possible in displaying how the many errors 
arose; but that the reader may form a just conception 
of the means by which one letter has been falsely intro- 
duced for another, and which, helping to form a word, 
enabled it to maintain the place it usurped, I here prefix, 
on a reduced scale, the plan of a pair of letter-cases, by 
referring to which, it will be found how close the con- 
nection is between certain types, and which, when in 
their respective boxes, the least shaking of the frame 
whereon the cases rest must dislodge from their own 
compartments, and scatter them into those of their 
neighbouring types. 













UPPER 


CASE. 












A 


B 


C 


D 


E 


F 


G 


A 


B 


c 


D 


" 


T 


• 


H 


I 


K 


- 


M 


N 





a 


i 


K 


L 


M 


N 





P 


* 


R 


s 


T 


V 


vv 


P j, 


. 


S 


• 


V 


. 


X 


Y 


z 


M 


CE 


J u 


X 


Y 


z 


M 


CE 


J 


u 


1 


5 


3 


4 


5 


6 


7 


a 


e 


i 


6 


* 


§ 


I 


8 


9 





9 


— 


ft 


fk 


a 


e 


i 


6 


U 


1! 


t 


a 


8 


V 


o 


li 


it 


k 


a 


e 


i 


6 


u 


< 


* 















LOWER 


CASE. 












cl 


[ 


as 


CE 


> 


J 


e 


s 


eh 


! 


; j fl | fl 


& 


b 


c 


d 


« 


f 


f 


t> 


(h 


1 < ! ' 


ffi 


ffi 
ffl 


I 


m 


n 


h 





y 


p 


1 
i 

' 1 
1 


w 


1 

1 
n 1 m 
Qu Qu 

1 


z 

X 


V 






Spaces. 


a 




q 




Quadrat* 












" 1 

| 


1 
' 1 


. 



Xll 



PREFACE. 



In the upper-case, it will be perceived that the letters 
are alphabetically arranged; but the lower-ease is so 
divided, that the letters most frequently demanded, par- 
ticularly the vowels, are nearest to the compositor's 
hand, and have larger compartments than most of the 
consonants. 

Though the Art of Printing had made great advances 
towards perfection in Holland, France, Germany, and 
Venice, yet, in England, when Shakspeare flourished, 
it was merely in a state of infancy; the very workmen 
were comparatively but apprentices, and so ignorant in 
the minutiae, now familiar to youths not more than three 
or four years at the business, that every work then pro- 
duced displayed innumerable typographical blunders. 
Can we then be surprised that the Works of Shakspeare 
shared the same fate — even a worse fate than the gene- 
rality ? for it is well authenticated that transcripts were, 
in general, made from the piecemeals of the performers, 
and those still more hurried, by the transcriber writing 
that which was read to him by another person, and the 
copy thus produced was, without revisal, sent to the 
printer. That our Author became, by such active exer- 
tions for precedency of publication, doubly exposed to 
blunders, exclusive of those ever attendant on hurried 
works in a printing-office, we need not be surprised; 
for if the person who read had a bad articulation, and 
the transcriber an unchaste ear, words most familiar to 
the comprehension of the latter would unquestionably 
be inserted ; and that this has been the case, my prede- 
cessors have so strongly proved, that I shall not trouble 
the reader by entering farther into a detail that must 
be the echo of opinions already universally received. 

The point then which I contend is this, — that if ever 
any principle could be advanced, tending to bring order 
out of confusion by the substituting of words, correspond- 



PREFACE. xiii 

ing* in sound and characters with the corrupt words which 
have crept into Shakspeare's text, and which, by context, 
afford a clear and comprehensive meaning-, and also sup- 
port both figure and metaphor where their aid is de- 
manded, — I sav, such principles have guided me through 
the entire of my work: thus, by the intuitive power 
of reason, every mode by which corruption could creep 
in has become familiar, and in analyzing that which I 
was determined to make pure, 1 never suffered the fur- 
nace of penetration to cool until all that was base was 
separated from the choicer metal. Having then reduced 
those principles to a regular system, I entertain the hope, 
that ultimately I shall succeed in removing every cor- 
ruption from our Author's text, and that I shall be 
enabled to say, what Mr. Malone too hastily advanced, 
" The text of the Author seems now to be finally settled." 

It is expected by many, that I shall enter into a farther 
exposure of that imbecility which made an effort to 
attack the Specimen of my Work, as first offered to 
public notice; but imbecile should I consider myself, 
were I to devote another part of a page against those, 
who, forcing wind enough to blast peas from a pop-gun, 
suffered fancy to indulge the idea that they aimed 
Waterloo Artillery against me! No; I leave the 
party to those attendants that ever lackey the heels of 
disappointed pride, and, exulting in this confidence — that 
even the collective party cannot do the one-tenth part 
towards restoring and illustrating the text of our Immor- 
tal Bard, as this Volume exhibits, I shall limit myself to 
a few observations, and those only which the nature of 
my Work requires. 

I have, in a former part of my preface, slightly hinted 
that I commenced this undertaking while labouring 
under the daily accumulating miseries of a prisoner of 
war in France ; and as, in this state of slavery, I had no 



XIV 



PREFACE. 



opportunity of resorting to any of the old editions of 
Shakspeare's Plays, I made the labours of my prede- 
cessors subservient in obtaining the different readings 
from the folios and quartos of such corrupt passages, as 
necessarily claimed my attention in penetrating into the 
origin and causes of those numerous corruptions. The 
labour of collating, then, like Mr. M. Mason, I expe- 
rienced not; but make no doubt the aid I derived was 
equal, so far, to my wishes, as in such short extracts in- 
accuracies could not be expected. However, convinced 
that several corruptions still remain, I trust that, ere 
long, I shall have an opportunity of comparing the 
different readings, and if corruptions have escaped my 
predecessors' notice, that I shall be enabled to restore 
the text to its pristine purity, and make it shed that lustre 
which the genius of the Bard originally designed. 

When I first submitted a specimen of my labours to 
critical penetration, the title of my pamphlet announced 
that I proposed to correct Seven Hundred Errors in 
Shakspeare's Plays. Honoured by the notice of several 
literary characters who highly approved my Specimen, 
one gentleman particularly suggested that the more 
appropriate title would be — Restorations of Seven 
Hundred Passages : to this I immediately acquiesced; 
but in the progress of reading my manuscript for press, 
I found some passages that required farther investiga- 
tion, and an absolute necessity of resorting to the early 
editions, for which reason I have omitted nearly sixty in 
this Work, though hoping, at a future period, to offer 
them with the same confidence that I do the present 
restorations. But, however, it will be found, that though 
I am short of seven hundred passages, yet there are 
more than seven hundred errors corrected; as also about 
one hundred and sixty illustrations given of passages 
which, though correct, have been misinterpreted by my 
predecessors, although these misinterpretations have 



PREFACE. XV 

long since passed the ordeal of criticism as incontro- 
vertibly just. 

It is almost unnecessary to observe, that where the 
text was corrupt, it could not afford the Author's mean- 
ing; but these passages now restored afford quite dif- 
ferent illustrations to those hitherto given ; so that, in 
restorations and illustrations, the Work now most re- 
spectfully submitted to public inspection, contains eight 
hundred and sixty proofs against the accuracy of all 
Shakspeare's former Commentators, 

Though the most modern writer on Shakspeare, and 
I would indulge the hope, not inferior to any of my 
predecessors as a restorer of his text, yet, as a Printer, I 
can say what, perhaps, no person of that profession ever 
had or ever will have to say, — At one period, three dif- 
ferent editions of Shakspeare's Works were printing 
in my Office: A part of Mr. Malone's for the Company 
of Booksellers; — the plays of Lear and Cymbeline, 
each making a volume, with illustrations by Isaac Am- 
brose Eccles, Esq.; and a reprint of that edition, com- 
monly known as Stockdale's Shakspeare. If, then, in 
the course of reading the proofs of these respective 
editions, that I became early acquainted with our in- 
imitable Bard, it will appear less extraordinary, that at 
a more advanced period I should become one of his 
Commentators. 

To me it would have been a high gratification had 
any of those eminent characters who have edited Shak- 
speare been still living ; for, convinced I am, that they 
would have been my strenuous friends in giving sanction 
to, and in recommending this Work to public notice. 

I shall not trespass farther in prefatory remarks, than 
merely to mention, that having recently perused an 



xv i PREFACE. 

article in the Edinburgh Review, relative to the species 
of comments on Shakspeare which the Editor of that 
Work would recommend, I submit to the reader how 
far I meet the opinion of this judicious Critic: — he 
observes,— 

" The real admirers of Shakspeare, we believe, care very little 
about his commentators. Yet, if we wish to understand every word 
of an author who wrote more than two hundred years ago, we must 
accept of the services of the antiquary and verbal critic. A short 
glossary, a few explanations of old usages, and a few suggestions for 
the restoration of a corrupted text, would be gratefully accepted, and 
generally consulted. But these helps become hinderances, — and 
nuisances indeed of the first magnitude, when they swell to six times 
the bulk of the original author, and engage us, at every tenth line, 
in the paltry polemics of purblind annotators, and grovelling tran- 
scribers of black-letter. The great popularity of Shakspeare has held 
out such temptations to this industrious class of beings, that we have 
now an edition of his thirty-five plays distended into twenty-one thick 
octavos; in which the text bears such a slender proportion to the 
commentary, that he who wishes to read nothing but Shakspeare, 
must keep his forefinger constantly employed in turning over the 
leaves, — and frequently earn no more by the labour than a single 
line in a page. When we look into the mass which fills the remain- 
der of it, we find it made up of long quotations from contemporary 
authors, tedious dissertations on old customs, and keen and solemn 
controversies upon the comparative merit of rival readings or pro- 
jects of punctuation. 

See Edinburgh Review for July, 1808, p. 449. 

From this, I trust, it will readily appear that the plan 
which I have pursued, precisely accords with the princi- 
ples suggested by the learned Editor ; and should my 
labours be sanctioned by the Literary World, more than 
three thousand notes, occupying about six Volumes of 
what is now considered the best edition of Shakspeare, 
will thereby become totally unncessary. 



SHAKSPEARE'S GENIUS JUSTIFIED. 



RESTORATIONS and ILLUSTRATIONS 

OF 

SEVEN HUNDRED PASSAGES 



SHAKSPEARE'S PLAYS 



Wi)t Wtmptgb 



ACT I. 

Scene I. — page 6. 
Boatswain. Blow, till thou burst thy wind, if room enough! 

Ariel has so disposed the wind, that the ship is in 
danger of being driven against the Island; and which, 
as Adrian observes in Act II. sc. i. is "almost inacces- 
sible." This being perceptible to the Boatswain, he is 
supposed to address himself to Boreas ; and, seaman- 
like, defies his power, provided the vessel has sufficient 
sea-room. 

In Pericles, Prince of Tyre, the sailors express 
themselves in a similar manner : 

1 Sailor. " Blow, and split thyself." 

2 Sailor. " But sea-room, an the brine and cloudy billow kiss 

the moon: I care not."' 

E 



THE TEMPEST. 



Scene I. — page 6. 

Alonso. Good Boatswain, have care. Where's the Master? ptay 
the men. 

Although the authorities introduced by various Com- 
mentators in support of the word play, seem plausibly 
strong ; yet, in my opinion, the transcriber mistook the 
sound of the word. We certainly should read, u ply the 
men :" meaning-, that he should make the men work with 



Scene II. — page 19. 

Prospero. Who having unto truth, hy telling of it. 

Mr. M. Mason recommends, "by telling oft;" which 
elision is to limit the verse to its due measure. But, I 
am of opinion that we should read, "by telling oft:" 
meaning, that by frequently telling a falshood, he be- 
lieved it to be a truth. Thus the verse is perfect. 



Scene II. — page 22. 

Prospero. — the very rats 

Instinctively had quit it. 

It is said of rats, that they generally quit a tottering 
house a few days before it falls. 



Scene II. — page 25. 

Prospero. Row I arise: 

Sit still and hear the last of our sea-sorrow. 

Sir William Blackstone demands, "Why does Pro- 
spero arise?" He then proposes to give the words — 
" Now I arise" to Miranda. But, why should Miranda 



THE TEMPEST. 



arise ; she who has manifested so lively an interest in the 
narration of her father ? However, it is evident, from the 
sequent verse, that she attempts to move from her seat, but 
is prevented by Prospero ; the reason of which will be 
obvious, by reading- as the Author wrote : 



3S ow ire. rise ! 



Sit still and hear the last of oar sea-sorrow. 

Prospero, in the course of his narration, smothers all 
indignation against his brother ; but now the retrospect 
of his treachery figures to his imagination all the dangers 
and all the calamities he has endured ; and which raising 
the passion of vengeance in his bosom, he exclaims — 
Now ire, rise ! which words, from his enraged look, at- 
titude, and action, awaking sensations of fear in the breast 
of Miranda, she attempts to move from her seat; but 
judging the true cause of her emotion, Prospero curbs 
his indignant fury, and modulating his voice, tells her 
to "Sit still, and hear" him recount "the last of their 
sea-sorrows," and the care he had taken of her education. 

The transcriber made the blunder: I arise, and, ire, 
rise! have, perhaps, as close a similarity of sound as any 
two words formed of different characters. 



Scene II.— page 37. 

Prospero. Come forth thou tortoise! When? 

Prospero calls Caliban, who is a rude monster, from 
his cell : he is a mass of flesh, destitute of reason ; and 
who, like the tortoise, merely eats, drinks, and crawls 
about, in sluggish inactivity. In short, Prospero con- 
siders him as a piece of unmeaning matter — a mere ex- 
crescence. To prepare us, therefore, for the object he is 
about to introduce, Prospero marks his contempt of him, 
by the most contemptible appellation that can be given 
to any object partaking of human form. 

B2 



4 THE TEMPEST. 

Come forth thou tortoise wen ! 

i.e. Thou animated excrescence! Prospero considers him 
no nearer to human nature than is that protuberance 
called a wen. 

In the Second Part of King Henry IV. Act I. sc. ii. 
y/e have a passage that puts this restoration beyond con- 
troversy. Prince Henry, in speaking of the familiarity 
with which he indulges Falstaff, says — 

" I do allow this wen to be as familiar with me as my dog," &c. 

which Dr. Johnson thus elucidates: — "This swoln ex- 
crescence of a man." 



Scene II. — page 91, 

Caliban. I'll get thee 

Young sesi-mells from the rock. 

The researches of my predecessors have been great to 
establish the existence of sea-mells, or sea-malls; but I 
profess myself unacquainted with either ; and, I believe 
our great Poet was equally so : for, though many words 
are now obsolete which took a lead in literature two 
centuries ago ; yet substantives have no more varied than 
proper-names. Therefore, if sea-mells were known in 
Shakspeare's time, they must be equally so at present. 
But they are unknown; nor have our Commentators 
been able to ascertain that any naturalist, from the time 
of Pliny to Buffon, ever mentioned such a bird. From 
these considerations, I am confident the original read : 

I'll get thee 



Young sea-mews from the rock. 

The sea-mews make their nests in rocks close to the 
sea. The manner in which the error took place is ob- 
vious. The transcriber formed the w in mews larger 



THE TEMPEST 



than the other letters connected with the word; and 
which was taken by the compositor for 11. 



ACT III. 

Scene I.— page 9^. 

Ferd. My sweet mistress 

Weeps when she sees me work; and says, such baseness 

Had ne'er like executor. I forget: 

But these sweet thoughts do even refresh my labours, &c„ 

It is difficult to say, whether the blunders in this pas- 
sage should be attributed to the transcriber's unchaste 
ear, or to the compositor's not deciphering the letters of 
the true words: we must be satisfied in obtaining the 
original, which certainly read : 



My sweet mistress 



Weeps when she sees me work; and says, such baseness 

Had ne'er like executor. I forgiv't: 

For these sweet thoughts do even refresh my labours, &c. 

Meaning: — The tears which Miranda sheds, at see- 
ing me striving to fulfil the laborious task enjoined on 
me by Prospero, give such consolation to my soul, that 
I forgive the iron-heart which imposes it. 

The subsequent word — But, should read — For: the 
necessity of this latter correction was obvious to Mr. 
Malone, even in the present corrupt state of the passage. 



Scene I. — page9£. 
Most busy-fcss, when I do it. 
The two first folios read — Most busy-lest; altered 
by Mr. Theobald to busy -less ; who observes, on this 
correctio?i — "I cannot afford to think well of my own 
sagacity, as even with this alteration, the passage is 
corrupt." 



6 THE TEMPEST. 

Formerly the long / and round s were used indis- 
criminately, by some printers, in the middle of words; 
though a cautious printer made the distinction, by placing 
the long at the beginning, and the round s in the middle 
of words; as in fubscription ; unless a £, or an i followed 
the s y as in fubflanee and fubfijl. Thus, then, the error 
originated : — The compartments for the long f and f 
being next each other, these letters were frequently 
mixed; and as it required a sharp eye to distinguish 
them, the compositor took up an /instead of an/J and 
produced the corrupt reading, as in the two first folios. — 
We should read : 



I forgiv't : 



For these sweet thoughts do even refresh my labours; 
Most busy left, when I do it. 

Thus corrected, the meaning is clearly and compre- 
hensively familiar. When Ferdinand had accomplished 
the daily labour enjoined on him by Prospero, he was 
more busy left than while at work ; i. c. the severe task 
occupied his mind, and banished disagreeable reflections ; 
but labour over, and oppressed with fatigue; then his 
mind became busily employed^ in reflecting on the tears 
shed for him by his mistress ; the cutting thoughts of his 
servile state ; the irreparable loss of his father ; and, the 
desponding idea of never returning to his dominions. 



ACT IV. 

Scene I. — page 122. 



Phospero. If I have too austerely punish'd you, 

Your compensation makes amends; for I 

Have given you here a thread of mine own life, &c„ 

The old copy reads third. According to the passage 
quoted by Mr. Hawkins, from the Comedy of Mucedorus: 



THE TEMPEST. 7 

thread, was formerly spelt third; but in Markham's 
English Husbandman, the same word is spelt thrift; 

and in this manner, I believe Shakspeare gave it in this 
passage. A slight transposition, however, seems to have 
been made by the compositor, who, from a cursory glance 
at his copy, made third; which, being understood by 
the corrector, in reading the proof, to mean a third part 
of Prospero's existence, he changed the definite for the 
indefinite article : and thus perverted the Author's mean- 
ing, by leaving Prospero tico-thirds of his life in reserve. 
We should read : 

If I have too austerely punish'd you, 
Your compensation makes amends ; for I 
Have given you here the thread of mine own life, 
Or that for which I live, &c. 

Why should Prospero say, — "Or that for which I 
live," if he reserves two-thirds of his life; even should 
Ferdinand prove the worst of husbands ? Ridiculous ! 
No : he means, that, in giving Miranda to Ferdinand, he 
gives the very thread of his own life, and which Ferdi- 
nand cuts, the moment he withdraws from Miranda the 
affectionate tenderness of a husband. 



ACT V. 

Scene I. — page 168. 

Axtoxio. One of them is a plain fish, &c. 

To explain what Antonio calls a plain jish, we must 
resort to Act IV. sc. i. where Ariel relates the trick she 
played on Caliban, Stephano, and Trinculo : 

" — So I charufd their ears, 



That, calf-like, they my lowing* followd, through 
Tootlvd hriers, sharp furzes, pricking goss, and thorns, 
Which enter d their frail shins : at last I left them 
Vthejilthy mantled pool beyond your cell, 
There dancing up to the chins," &c 



8 THE TEMPEST. 

Thus mantled with the green superficies of the stagnant 
pool, (scale-like substances, which float on the surface of 
ditches,) they appeared before the cell, where Stephano 
and Trinculo habited themselves in the glittering apparel 
left on the lines ; but Caliban remained in his filthy state, 
and thus appeared like an amphibious monster, which 
Antonio calls a. plain fish. 



Scene I. — page 169. 

Alonso. Where should they 

Find this grand liquor that hath gilded them? 

Gilded is designed to convey a double meaning : — their 
external appearance in the glittering robes of Prospero ; 
and, as drinking much liquor heightens the complexion 
and gives it a gloss, their inebriation adds to the gilded 
figure. 



®too (BrMtttmm of Vtttm. 



ACT I. 



Scexe I. — page 1ST. 

Speed. And being so hard to me that brought your mind, I fear, 
she'll prove as hard to you in telling her mind. 

The old copy lias — " in telling your mind." It appears 
to me that we should read — -"In telling you her mind." 
The person who read to the transcriber coupled the 
words you her as youer, omitting to aspirate the h; the 
want of which sound deceiving the transcriber, he took 
it for your, as in the old copy. — Thus corrected we gain 
Speed's meaning. 



ACT II. 

Scexe II. — page 212. 

Julia. If you turn not, you will return the sooner: 

If your affections do not change, you will return the 
sooner. 



ACT III. 

Scene I. — page 249. 



Launce. I am but a fool, look you; and yet I have the wit to 
think, my master is a kind of knave: but that's all 
one, if he be but one knave. 

Launce, convinced that his master is the cause of 
Valentine's banishment, calls him a kind of knave; and 



10 TWO GENTLEMEN OF VERONA. 

having a shrewd suspicion, that he will rob him of his 
mistress as well as his liberty, will, thereby, prove him- 
self doubly a knave. 



ACT IV. 

Scene I. — page 21b. 

Sylvia. I am very loth to be your idol, Sir; 

But, since yourfahhood shall become you well 
To worship shadows, and adore false shapes, 
Send to me in the morning, and I'll send it : 

Dr. Johnson proposes to correct this unmeaning pas- 
sage by reading — "But since you? re false, it shall become 
you well;" which certainly removes the obscurity; and 
Mr. Tyrwhitt, is satisfied with the present text, " only to 
suppose," as he says, "that it is understood." 

I, however, am confident that the obscurity of this 
passage is owing both to the transcriber and composi- 
tor; to the first, from false punctuation; and to the lat- 
ter, from having composed a T in place of a G, which 
making To, (it being a word) escaped the corrector's 
notice. I read, as I believe the author wrote : 

But, since your falshood shall become you ; well — 
Go: worship shadows and adore false shapes: 
Send to me in the morning, and Til send it: 

Thus the indignation of Sylvia is displayed ; her lan- 
guage emphatic; her determination conclusive; and ? 
ordering him from her presence, she tells him to send m 
the morning for the picture. 



$&iiittnmmtv^iqfoV$ &ttam+ 



ACT II. 

Scene II. — page 357. 

Titania. Therefore the winds, piping- to us in vain, 
As in revenge, have suck'ci up from the sea 
Contagious fogs; which falling in the land, 
Have every pelting river made so proud, 
That they have overborne their continents. 

The transposition of one letter obtains the Author's 
word. We should read : 

Have every petling river made so proud, &c. 

Petting is a diminutive, used either as a word of en- 
dearment, or contempt. The text, thus corrected, means : 
That every little insignificant river, by heavy rains falling 
into them, had become so proud, they broke down the 
banks which originally confined them. 



Scene II. — page 360. 

Titania. The human mortals want their winter here. 

The word here y limits the desolation, occasioned by 
the quarrels between Oberon and Titania, to Athens, 
only ; whereas, the text should make the calamity ge- 
neral. See a subsequent part of this speech : 

"Therefore the moon, the governess of the floods, 
Pale in her anger, washes all the air," &c. 

If " all the air" has been so incessantly washed, the 
" progeny of evils" must have been scattered over the 
world : and this Titania evinces, by observing, that* — 



the mazed world 



By their increase, now know not which is which :" 



12 MIDSUMMER-NIGHT'S DREAM. 

Surely then, when she speaks in such pointed terms 
of the general calamity, she cannot mean, so immediately, 
to limit its effects. I am, therefore, inclined to think 
Mr. M. Mason correct, and that we should read cheer : 
meaning — That human mortals cannot enjoy their festive 
cheer, or chant their songs of praise at the accustomed 
season, on account of this extraordinary revolution in 
the order of nature, 



ACT III. 

Scexe I. — page 375. 

Demetrius. Where is Lysander, and fair Hermia? 
The one I'll slay, the other slayeth me. 

The old copies read: — "The one I'll stay, the other 
slayeth me." The present text is from the suggestion 
of Dr. Thirlby. I, however, think the old copies right. 

According to the present text, Demetrius is made to 
say, "the one Til slay," (Lysander) for which murder, 
the Athenian laws must condemn him : he then continues, 
Ci the other slayeth me ;" meaning Hermia : by which alter- 
ation, the sense is perverted and the persons changed. 

Helena having signified to Demetrius, that Lysander 
and Hermia intend to elope; Demetrius, jealous of the 
one, and winged by passion for the other, pursues them. 
Now, according to Dr. Thiriby's correction, Is it said, for 
what purpose Demetrius goes in pursuit of the fugitives ? 
Yes ; The one he will slay ! What then becomes of the 
other? But see how clearly the original disposes of 
Hermia, and assigns sufficient cause for his saying — "the 
other stayeth me." He will stay, that is, he will stop 
Hermia; she being already destined by her father to 
become his bride, and prevent her from eloping with 



MIDSUMMER-NIGHT'S DREAM. 13 

Lysander, who stayeth him, i. e. stops him from obtaining 
the object of his passion. 

According to the present text — the one I'll slay, must 
mean Lysander ; whereas, it should be Hermia whom he 
intends to stay. 

In a subsequent part of this scene, that the Author's 
meaning of the word should not be misunderstood, he 
makes Demetrius repeat it : 

" I will not stay thy questions ; let me go." 

In other words— I will not stop to hear you ; let me 
go. — The original reading should be restored. 



Scene I.— page 378. 

Oberon. Hast thou the flower there? Welcome, Wanderer. 

According to the present reading — Welcome Wanderer ■, 
is made the name of the flower; and which is strength- 
ened by Puck's direct reply : — "Ay, there it is." — Surely 
the salutation should take the lead, thus : 

Oberon. Welcome, Wanderer; hast thou the flower there? 
Puck. Ay, there it is. 

. The compositor might have made this transposition 
when correcting some error in the verse. 



ACT III. 



Scene I. — page 396. 

Pyramus. So doth thy breath, my dearest Thisby dear — 
But, hark, a voice ! stay thou but here a while, 
And by and by I will to thee appear. 

I cannot agree with Mr. Malone, that two lines have 
been lost; nor do I think Mr. Theobald comes a whit 
nearer to sense than the old copy, by his alteration. In 
short, the present obscurity of the passage, and breach in 



14 MIDSUMMER-NIGHT'S DREAM. 

the metre, arise from a careless compositor, who trans- 
posed the words : the Author designed a triplet, thus : 

So doth thy breath, my dearest Thisby dear — 
But, hark, a voice! stay thou a while but here, 
And by and by I will to thee appear. 

Where are the two lines wanting ? — What sense can 
be clearer ? 



Scene II. — page 419. 

Lysander. You are unkind, Demetrius; be not so; 

For you love Hermia, this, you know, I know. 

Another error of the compositor, who taking the line 
on his mind forgot do, and composed know. — We should 
read : — For you love Hermia, this you do, I know. In 
the same speech, Lysander says, 

"And your's of Helena to me bequeath, 
Whom I do love, and will do to my death." 



Scene II. — page 425. 
Demetrius. No, no, Sir — he will. 

I am convinced that a greater number of sudden tran- 
sitions, or breaks, have been introduced than the Author 
intended; and owing to loss of words, which the early 
Editors had not sufficient penetration to supply. 

This passage has been tortured by various alterations. 
Mr. Malone's text is formed, from the Quarto (printed 
by Fisher) and the first Folio; by which junction, he 
reads: — "No, no, he'll — Sir" — 

The Scene before us, exhibits Hermia using all her 
efforts to prevent Lysander from combating with De- 
metrius. Lysander really strives to extricate himself 
from her hold; but, respecting her person, will not use 



MIDSUMMER-NIGHT'S DREAM. \j 

that violence which might "hurt her" nor will he "-strike 
her" but tells her to quit him. " Away," he says, "you 
Ethiop!" — But Demetrius believes his struggles a mere 
feint: that he does not use sufficient force; but, that 
through cowardice he suffers himself to be detained. 
This, I believe to have been the Author's meaning, and 
which is obtainable by a slight correction : 

No, no, hell not stir: 



Seem to break loose; take on as you would follow. 

Thus the sarcasm is levelled at Lysander with force ; 
and the passage so clear, that any person, who can read, 
must understand it. 

The word not was lost in the first Edition of this Play ; 
stir, instead of sir, requires but the addition of a i: and 
thus corrected the metre is also perfected. 



ACT IV. 

Scene I. — page 443. 

Tit ax i a. Fairies, be gone, and be all ways away. 

The old copies read: — "And be akcays away." I 
suppose the present text (Mr. Theobald's) means — to be 
o?i every direction : and that of the old copies, — not to ap- 
proach the Fairy Queen in future. Now, though Mr. 
Theobald's correction gives a more plausible meaning, 
yet the old copy contains the Author's words, but not his 
punctuation. — I correct thus, 

Fairies, be gone, and be always: — J way ! 

In the Fairy language, meaning: — Be invisible, though 
present. — She orders the fairies to be invisible while her 
lover seeks repose. — Thus, Titania displays her power. 



16 MIDSUMMER-NIGHT'S DREAM. 



ACT V. 

Scene I— page 479. 

Theseus. Here come two noble beasts in, a moon and a lion. 

Truly, the moon is paid a pretty compliment : the pas- 
sage is beastly corrupt. We should read : 

Here come two noble beasts in ; a man and a lion. 

As a man is the most noble of the animal creation, so is 
the lion of all quadrupeds : Theseus, therefore, considers 
Snout as a beast from his manners and actions. The Au- 
thor's word, man^ should be restored. The metamorphose 
of man to moon is the witchcraft of Mr. Theobald. 

We are not to take this passage in a sense so strictly 
literal, as, a man in a whale; which was the case with 
Jonah, when in the whale's belly; though, I doubt not 
our Author had this figure in view, and most probably 
wrote — u a man in a lion." Meaning Snout, who enters 



enveloped in a Lion's skin. 



Httrt£ nmibt$ of OSttitfytor* 



ACT I. 



Scene III. — page 40. 

Falstaff. I spy entertainment in her; she discourses, she carves, 
she gives the leer of invitation. 

No doubt Mrs. Ford was an excellent carver, perhaps 
equal to any in Windsor; and entertained her friends 
with choice viands : but the entertainment to which Fal- 
staff alludes being that of love, her adroitness in the 
art of carving is not absolutely necessary. 

Falstaff has spied a certain craving in the eye of this 
merry wife ; and as she has given him the leer of invita- 
tion, he, in his lascivious humour, says, — 

She craves, she give3 the leer of invitation. 

See a subsequent speech in this scene, where Falstaff 
boasts of the impression he has also made on the heart 
of Mrs. Pao-e : 

" 0, she did so course o'er my exteriors with such a greedy inten- 
tion, that the appetite of her eye did seem to scorch me up like 



And by the appetite of Mrs. Ford's eye, Falstaff thinks 
he knows that for which she craves. 

It is almost unnecessary to say, that the compositor, 
from the cursory view he took of the copy, read, she 
carves, instead of she craves. 



18 MERRY WIVES OF WINDSOR. 

Scene III. — page 41. 
Nym. The anchor is deep : Will that humour pass? 

The anchor and arrow being similarly pointed, Nym 
compares the former to the arrow used by the wanton 
archer ; and, as an anchor , when cast, darts through the 
bosom of the deep, so Nym displays his humour by 
saying, the anchor is deep in Mrs. Ford's bosom. 



Scene III. — page 47. 

Nym. I will possess him with yellowness, for the revolt of mien is 
dangerous. 

The old copies read— "the revolt of mine" I am of 
opinion we should read — the revolt of mind; meaning-, 
that by making Page jealous, he will become so enraged, 
so mad, as to chastise FalstafF. The revolt, or revolution 
in his mind, occasioned by jealousy, will divest him of all 
prudence. 



ACT II. 

Scene I. — page 60. 



Mrs. Page. Why, I'll exhibit a bill in the parliament for the putting 
down of men. 

No doubt Mrs. Page means fat men. Her passion is 
blended with revenge and humour : — she will pray the 
parliament to pass a bill, that all fat men shall be re- 
stricted in diet; and thereby, their lustful passions being 
subdued, virtuous women may be neither subject to their 
arts or insolence. Perhaps the original read — palling 
down. We frequently say, pull down your flesh with 
exercise, and use spare diet. 



MERRY WIVES OF WINDSOR. 19 



Scene I. — page 68. 

Pistol. Away, Sir Corporal JVym. — 

Believe it, Page ; he speaks sense. 

He may speak sense, but I cannot develop it according 
to the present arrangement of the passage. 

The characters present are Pistol, Nym, and Page. — 
Nym has been filling Page with yellowness ; and Pistol, 
thinking that enough has been said to give a good dose, 
wishes Nym to depart. We shall obtain order out of 
confusion, by arranging the lines as our Author wrote 
them: 

PlSTOL. Away, Sir Corporal. [To Nym, meaniug, Let us depart. 

Nym. Believe it. [Impressing on Page's mind that all he told him tvas trite. 

PAGE. He speaks sense. [To himself: giving credit to what Nym related. 

I am certain the error originated thus: the person 
who read to the transcriber did not make sufficient pauses, 
and the names and words corresponded so well, that he, 
disregarding the sense, perceived not the blunder he was 
making, Moreover, are we to believe that Nym would 
take such a liberty with so respectable a character as 
Page, and thus address him, Believe it, Page — as though 
he were his familiar acquaintance ? 



Scene II. — page 78. 
Pistol. I will retort the sum in equipage. 

Equipage is certainly a very familiar word ; but, with 
Mr. Steevens, I must say, — "that it ever meant stolen 
goods, I am yet to learn." The compositor mistook the 
word : our Author wrote : 

I will retort the sum in equipoise. 

Retort, (return) Equipoise (equal weight.) I will 
return you equal weight in money. " No," says Falstaff, 
4i not a penny." The oi was taken for an a, the i being 
closely joined to the o; and the % for a g, the word 
ecpuipoise being formerly spelt equipoize. 

C '2 



MERRY WIVES OF WINDSOR. 



Scene III. — page 106. 

Host. I will bring thee where mistress Ann Page is, at a farm-house 
a feasting; and thou shall woo her: Cry'' d game, said I 
well? 

We have three pages of close notes on this passage in 
Johnson and Steevens' edition : all of which, I think, 
may hereafter be dispensed with. 

Let it be considered, that the Host avails himself of 
Caius's ignorance of the English language, and conveys 
gross abuse under the mask of friendship. — In one place 
he calls him Heart of Elder; which means a spiritless- 
fellow — the elder-tree having no heart, its interior being 
all pulp. In another place, he gives him the genteel name 
of Monsieur Muck-water ; which he interprets — valour, 
bully: again, — He will clapper-claw thee tightly, bully: 
which he interprets — lie will make thee amends. But 
the epithet which he gives him at present is even worse 
than these ; the grossest he could use to a man going to 
court a young and beautiful damsel; yet, for this, Caius's 
ignorance of what the other says, is such, that he promises 
to procure him guests of the first distinction : — de good 
guest, de earl, de knight, de lords, de gentlemen, fyc. and all 
this for being called — JDri/d game: i. e. an old sapless 
fellow, in whom the animal juices that could create pas- 
sion are extinct. Thus then the original : 



Mistress Ann Page is, at a farm-house a feasting ; and thou 
shall woo her : Bry'd game, said I well ? 

The case in which the capital letters are deposited has 
uniform compartments, and the letters follow successively 
in each. The C and D, therefore, being next door neigh- 
bours, often visit each other ; and such a visit being un- 
fortunately paid by C to JD, about the time when the 
manuscript of this play made its first appearance in a 
printing-office, Cry'd game has maintained its situation 
ever since. 



MERRY WIVES OF WINDSOR. gl 

ACT III. 

Scene III. — page 138. 

Mrs. Ford. Shall we send that foolish carrion, mistress Quickley, 
to him ? 

The old copy reads— -foolishion carrion. 

Mrs. Quickley is one of those gossipers with which 
every village is infested, those who have an eye on every 
person, and carry on any intrigue or plot in which they 
are made privy by the party : to this may be added their 
artful manner of making' scandal current. In Dame 
Quickley, we cannot say this malevolent trait prevails 
but being loquacious and fond of gossipping ; com 
municative, and desirous of being made a sort of con 
fidant, she has obtained the nickname olVj/e on — carry on s 
perhaps from often saying — I have an eye on him, or her 
or, an eye on it ; as also carry on, in a similar manner 
By the frequent repetition of such phrases many persons 
obtain nicknames ; and, no doubt, our intriguing dame 
was better known in Windsor as Mrs. Eye on — carry 
on, than Mrs. Quickley. 

The transcriber being ignorant of the sense, followed 
sound ; and, for foolish eye on — carry on, wrote foolishion 
carrion : thus giving the vowel i for eye (to observe or 
look after,) and carrion (coarse meat) for carry on (to 
proceed actively in an undertaking). Thus it will be 
perceived, that the correction is simple by which the Au- 
thor's sense is obtained. 



Scene V. — page 153. 

Falstaff. next, to be compassed, like a good hilbo, in the cir- 
cumference of a peck, hilt to point, heel to head: 

Falstaff doe's not say, that he was compassed either 
within the circumference of a pack, or peck, as Mr.Malone 
supposes; but "like a good bilbo," that would bend from 



22 MERRY WIVES OF WINDSOR. 

" hilt to point" so was he bent from "heel to head." By 
the description he gives of his situation, he must have 
been placed on his belly, in the buck-basket ; and so com- 
passed, that his heels touched his head. The inference^ 
therefore, to be drawn is — that a good bilbo was of such 
flexibility, that it could be incurvated within the small 
circle of a peck-measure. 

Tumblers may have that surprising flexibility of body 
which Falstaff describes ; but, in himself, it is hyperbolical 
to an extreme, and received, not literally, but wittily. 



ACT IV. 

Scene I. — page 158. 

Mrs. Quickley. and to call horum: — fie upon you! 

Mrs. Quickley seems too perfect in the Latin word, 
horum. She has already perverted genitive case, to — 
"Jenny's case" surely, then, in the present instance, 
she should say, u whoreum: — fie upon you!" 



Scene II. — page 162. 

Mrs. Page. Alas, three of master Ford's brothers watch the door 
with pistols, that none shall issue out. 

This anachronism is not Shakspeare's, but the Printer's, 
We must call to remembrance, that Pistol having quar- 
relled with Falstaff, disclosed the Knight's intentions to 
Ford: and we also find Pistol employed as the Crier 
Hobgoblin in Windsor forest. If then, that Ford really 
employed three of his brothers to watch the door, is it not 
highly probable, that the treacherous Pistol was also 
employed to identify Falstaff? Under these considera- 
tions, I believe our Author wrote : 

Three of master Ford's brothers watch the door, with Pistol, &c. 



MERRY WIVES OF WINDSOR. 23 



ACT V. 

Scene IV. — page 197. 

Mrs. Page. They are all couched in a pit hard by Heme's oak, with 
obscured lights ; which, at the very instant of Fal- 
staff's and our meeting, they will at once display to 
the night. 

The troop of supposed fairies, with obscured lights, 
are to display their lights, not "to the night" (darkness) 
but, to Sir John FalstafF, knight; and which, as Mrs. Ford 
observes, "cannot choose but amaze him." — We should 
read : — they will at once display to the knight. 

This error has kept the true sense of the passage long 
enough in darkness ; the light now thrown on it, will, I 
hope, have its effect. 



Scene V. — page 211. 

Mrs. Page. Now, good sir John, how like you Windsor wives T 
See you these, husband? do not tliese fair yokes 
Become the forest better than the town? 

Before Falstaff rises from the ground, he divests him- 
self of the buck's-head; and we see no stage direction to 
warrant Mr. Theobald's observation, that, — the types of 
cuckoldom remain in Falstajf's hands. 

After the first verse of this speech, (according to the 
present reading,) Mrs. Page is made to address her hus- 
band : How then could Ford, with propriety, become the 
next speaker? In short, the text is corrupt; and the 
forced elucidations of it, possess more horn than marrow. 
Our Author wrote : 

Now, good sir John, how like you Windsor wives ? 
See you these husbands? do not these fairy jokes 
Become the forest better than the town ? 

Thus the entire of Mrs. Ford's speech is addressed to 
Falstaff, and conveys such cutting words, that, if Falstaff 
has sensibility to feel a wound, — " See you these hus- 



24 MERRY WIVES OF WINDSOR. 

bands .?" sends an arrow to his very soul. — " See you these 
husbands?" pointing at the same time to the very men, 
whose domestic peace — whose earthly happiness, his lust 
and avarice intended to destroy. 

Thus, neither horns, yokes, nor oaks, have any concern 
with the text; and this long- controverted point, ulti- 
mately ends in— fairy jokes. 

Why a fairy jokes become the forest better than the 
town," is easily explained. The town could not yield 
effect to the scene planned by the merry wives ; and, that 
Falstaff may know who played the former jokes on his 
credulity, she makes the observation. 

In the folio of 1623, there is no comma after the words, 
" See you these" — a convincing proof that Shakspeare 
wrote " See you these husbands f and not only to convey 
the rebuke, but also to make the plural — husbands, cor- 
respond with wives, as in the preceding verse : the s was 
lost in the turn of the note of interrogation. The y 
which makes the corrupt word — yokes, belonged to the 
word fairy ; and thej which should have made jokes, was 
omitted by the transcriber, the down-stroke and turn of 
the y being precisely a j, which made him think he had 
already formed that letter. 



Scene V. — page 215. 
Falstaff. — ignorance itself is a plummet o'er me : 

Very few words show Falstaff' s meaning : — / act with 
so little cautionj that ignorance can sound, or fathom my 
intentions. i 



Vtotim ttftgfjt 



ACT I. 

Scene IL— page 2iS. 

Captaix. Assure yourself, after our ship did split, 

When you, and that poor number saved with you, &c. 

When the Captain, and those who were saved from 
the wreck, got on shore, he enumerated them, thereby 
ascertaining the number that perished ; and as Viola was 
present at the muster, and knew the number saved, the 
Captain alludes to that poor number ; part of whom may 
have been sent to seek provisions, and others left to guard 
whatever effects were saved from the wreck. 



Scene II. — page 244. 

Viola. 0, that I served that lady: 

And might not he delivered to the world, 
Till I had made mine own occasion mellow, 
What my estate is, &c. 

I cannot read Dr. Johnson's observations on the present 
intentions of Viola, without some degree of astonishment ! 
he says, — "Viola seems to have formed a very deep de- 
sign with very little premeditation : she is thrown by ship- 
wreck on an unknown coast, hears that the prince is a 
bachelor, and resolves to supplanc the lady whom he courts." 
Thus, the poet is arraigned for incongruity, and Viola's 
character unmeritedly tarnished. Again, the Doctor ob- 
serves, — "Viola is an excellent schemer, never at a loss : 
if she cannot serve the lady, she will serve the duke." 
Now, let us see whether the Author or Critic be correct : 
whether the Critic or Character be reprehensible. 



96 TWELFTH NIGHT. 

Viola and her brother, deprived by death of their pa- 
rents, embark for some port, where their presence, per- 
haps, is necessary, in order to obtain part of that fortune 
bequeathed them by their father : or, perhaps, a spirit of 
enterprize in the young man (her brother,) induced him to 
risk a part of their mutual fortune in merchandise ; and 
Viola, considering him her best protector, accompanied 
him. On their voyage, the ship is unhappily wrecked off 
the coast of Illyria : Viola is saved ; her brother is sup- 
posed to have perished; and, in addition to this calamity, 
whatever property she had on board, lost. Thus, in a 
strange country, destitute of friends, unknowing and un- 
known, she hears that Olivia, a lady of the first distinction, 
has made a vow to seclude herself for a certain period from 
society, that she may give full scope to that affliction which 
overpowers her for the loss of an only brother. Here, simi- 
larity of misfortune, or leading cause of sorrow, between 
Olivia and Viola, being striking, poor Viola exclaims : 

" O, that I served that lady ! 
And might not be deliver'd to the world." 

Surely this is a pious virtuous wish : — a wish prompted 
both by prudence and good sense. 

But Viola's fair star is destined to light her to a 
happier abode. Olivia admits no stranger near her per- 
son, save a very select few of her most esteemed relations. 
Thus disappointed, and knowing that, as a youthful 
female who has pretensions to beauty, she becomes ex- 
posed to the insults of the dissolute, Viola, to avoid the 
the snares of seduction, testifies an inclination to obtain 
a situation in the palace ; and, that all suspicion of her 
sex may be perfectly lulled, intends to disguise herself 
in the habiliments of a man: nay, farther, that the 
females about the court should look on her more with 
contempt than desire, intends to pass for an eunuch. 
Her plan succeeds; and though she promised herself 
nothing more than temporary protection from distress 
and insult, until a favourable opportunity of returning to 



TWELFTH XIGHT. 27 

her own country might arrive; or, until she had made 
her own occasion mellow^ what her estate should be ; yet. 
when she becomes so highly favoured by the Duke ; and 
is a constant witness of his good qualities; her heart, 
hitherto free, becomes his slave : she loves, and wishes to 
become his wife. 

Surely there is neither premeditation in this: nor any 
immediate resolution to supplant the lady to whom the 
Duke wishes to pay his addresses? 



Scene III.— page 248. 

Maria. He hath, indeed, — almost natural: for, besides that he's 

a fool, he's a great quarreller. &c. 

Maria plays on the words — almost natural ; meaning, 
that, whatever language Sir Andrew attempts to speak, 
he displays the same knowledge of it that he does of his 
mother tongue, in which he is no great proficient : by 
almost natural^ she also means, that he is almost an idiot. 



Scene V. — -page 272. 
Olivia. Look. you. sir, such a one as I was this present. 
The addition of an s. gives, I believe, the true text. 

Look you. sir, such a one as I was this presents. 

Thus the allusion to the picture is supported : — by pre- 
sents^ she means exhibits. 



ACT II. 
Scexe II.— page 283. 

Viola. She made good view of me; indeed, so much, 

That, sure, methought, her eyes had lost her tongue, &c. 

See Mr. Malone's observations on this passage. Foi 

the word sure. I am certain, we should read — 

That, oft, methought, her eyes had lost her tongue, &c. 



28 TWELFTH NIGHT. 

Scene II. — page 283. 

Viola. Disguise, I see, thou art a wickedness, 

Wherein the pregnant enemy does much. 

How easy is it, for the proper-false 

In women's waxen hearts to set their forms ! 

The proper false, though an unexampled phrase, Mr. 
Steevens has, from his accommodating maxim, not to alter 
the text, defended with much ingenuity. I am, however, 
inclined to think it corrupt : and, that the true word not 
being sufficiently legible in the manuscript, that which 
has been introduced, occasioned the alteration of two 
other words. I read: 

How easy is it, for thy purpose false, 

In women's waxen hearts to set t hi/ forms ! 

Disguise is made a person, and to whom Viola is sup- 
posed to address herself. Thus corrected, the passage 
means : 

How easy is it for Disguise, by assuming a specious 
appearance, to work false purposes on the waxen hearts 
of women, whose credulity is ever ready to receive 
impressions. By " thy forms" she means, assumed ap- 
pearances, — appearances studied to deceive, and which, 
fixing on the heart, make the impression. 



Scene III.— page 292. 

Sir Toby. Shall we rouse the night-owl in a catch, that 

will draw three souls out of one weaver. 

This passage was never intended to bear that sublime 
illustration given by Dr. Warburton. If the French 
coin, called a sol, (plural, sols) or sous, was formerly spelt 
souls, the text is correct, and the Author played on the 
word : if not, sols, I believe was the original. Sir Toby 
means, that he would draw three sols, (three halfpence) 
out of one weaver; a sum, that extraordinary powers 
only could obtain. 



TWELFTH NIGHT. 29 

The name of the coin not being- familiar; either the 
transcriber or compositor thought it should be souls. 
Whoever made this error, is not highly culpable. 



Scene III.— page 298. 

Sir Toby. We did keep time, sir, in our catches, sneclc up ! 

We certainly should read : snack up. — Snack, means 
share, or part by agreement. Each supported his share or 
part of the catch, — first, second, and third, as by agree- 
ment. 



Scene IV. — page 311. 

The Duke. But 'tis that miracle, and queen of gems, 

That nature pranks her in, attracts my soul. 

There is a transposition in this passage. We should 
read — "That nature pranks in her.'" 

The Duke compares the heart of Olivia to a gem mira- 
culously beautiful ; nature the artist, who adorned and 
set that heart in her. Olivia cannot be in her own heart ! 
The Duke seeks that miracle and queen of gems, which 
nature pranks in her; i. e. has adorned, by setting it in 
her most lovely person. 



Scene IV. — page 313. 

Viola. she pin'd in thought; 

And, with a green and yellow melancholy, 
She sat like patience on a monument, 
Smiling at grief. 

All the united exertions of criticism, sculpture, and 
painting, have been displayed to illustrate this admirable 
passage : but vain the efforts, neither the powers of eru- 
dition nor scientific knowledge, have been able to recon- 



SO TWELFTH NIGHT. 

cile the incongruity of — patience sitting on a monument 
smiling at grief: and yet, the transposition of a comma, 
and the addition of two parenthesis, give full power and 
perfect beauty to the whole figure. I read : 

-she pin'd in thought; 



And, with a green and yellow melancholy 
She sat, (like patience on a monument,) 
Smiling at grief. 

The parenthetical part of the passage requires mo- 
dulation of the voice. The Poet represents his object, 
as seated in the same attitude, as that in which sculptors 
delineate patience on a monument. Patience does not smile 
at grief: it is the poor girl who sat, in that disconsolate 
attitude; her eyes thoughtlessly fixed, i. e. not turning 
from any insignificant object on which they lodged, and 
which a spectator would have imagined occupied her 
thoughts : — she sat smiling in the midst of tears, whilst 
inward sorrow gnawed her bosom, and bade defiance to 
the balm of consolation. 



Scene V. — page S c 2o. 

Fabian. Though our silence he drawn from us with cars, yet 
peace. 

Since neither cars, carts, nor cables have produced the 
desired effect ; I think a smart cat, made of whip-chord, 
and with which offenders are often castigated, will stand 
a chance : however, Fabian thinks the contrary ; for 
though they were whipped with cats, yet still, he says, 
they must preserve peace. Our Author certainly wrote : 

Though our silence be drawn from us with cats, yet peace. 

The word cats, speaks feelingly for itself: a t for an r 
corrects the error. 



TWELFTH NIGHT. 31 



ACT IV. 



Scene III.— page 392. 

Sebastian. Where's Antonio then? 

I could not find him at the Elephant : 

Yet there he was ; and there I found this credit 

That he did range the town to seek me out. 

This credit^ is a letter left by Antonio at the Elephant 
for Sebastian, and which he should hold in his hand. 
There wants this stage direction : (He takes a letter 
from his pocket,) which letter displays at once what this 
credit means. 



ACT V. 

Scene I. — page 416. 

Olivia. And now I do bethink me, it was she 

First told me, thou wast mad; then came in smiling;, &c. 

A slight alteration gives the original. We should read : 

And now I do bethink me, it was she 

First told me thou wast mad. — Thou cam'st in smiling, &c. 

Thus corrected, the text corresponds with the eluci- 
dation given by Mr. Steevens. The ou in manuscript, 
might very easily be taken for en. 



Mutl) alio afcout tf ot&tstg* 



ACT II. 

Scene I.— page 47. 

Benedict. it is the base, the hitter disposition of Beatrice, that 

puts the world into her person, and so gives me out. 

Dr. Johnson's elucidation is perfectly correct : he, how- 
ever, could not reconcile how "base and bitter are in^ 
consistent; or, why what is bitter should not be base." 
Truly, he might well make this observation, the passage 
being corrupt. 

The old copies read — "base though bitter disposition :" 
And here we find two bad qualities, with an unpre- 
cedented aim to soften one, by making it exceptionable, 
as though there was some goodness attached to it. The 
Author's text, however, can only be obtained by means 
of the old reading — " base though bitter," &c. 

it is the base, tough, bitter disposition of Beatrice, &c. 

Thus he points out three bad qualities in Beatrice, to 
prove that her evil reports proceed from a malevolent 
disposition. She is base, (wicked) tough, (vicious) and 
bitter, (sharp.) The compositor, having merely glanced 
at the copy, mistook tough for though: the omission of 
an h corrects the error. 



Scene I. — page 49. 



Benedict. huddling jest upon jest, with such impossible 

conveyance, upon me, that I stood like a man at a 
mark, with a whole army shooting at me : 

I find it utterly impossible to extract any sense from 
the censurable word, in its present place ; nor can I re- 
ceive any light from the forced elucidations before me. 



MUCH ADO ABOUT NOTHING. 33 

From the characteristics attributed to Beatrice by her 
antagonist, she seems to be totally destitute of pity: I, 
therefore, not only think, but am confident, that our 
Author wrote : 

Huddling jest upon jest with such impitiable conveyance upon 
me, that I stood like a man at a mark, &c. 

In this speech, Benedick calls her the infernal Ate (the 
goddess of Revenge) and where revenge is a prevailing 
passion, pity never enters. 

The compositor took but a cursory view of his copy, 
and read, impossible for impitiable. 



Scene I.— page 53. 
Beatrice. Good lord, for alliance ! 

Beatrice plays on the word cousin, as used by Claudio, 
and turns its sense from cousin (a relation) to cozen (to 
cheat) — meaning, that Hero, by telling Claudio he is in 
her heart, has cheated him into an alliance. In represen- 
tation, ^Beatrice should follow the word cousin immedi- 
ately, to give the idea the same force as though she said, 
she cozens, good lord, for alliance. 

Our Author frequently plays on this word : one ap- 
posite example may be necessary. — See Henry IV. 
Act I. sc. iii. where Hotspur, speaking of Henry, says : 

"Look, — when his infant fortune came to age, 
And, — gentle Harry Percy, — and kind cousin, 
O, the devil take such cozeners /" 



Scene I. — page 53. 

Beatrice. Thus goes every one to the world but I, and 

I am sun-burned, &c. 

The transcriber mistook the sound of the word : the 
error lies in the word to. We should read : 

Thus goes every one through the world but I, and I am sun- 
burned, &c. 

D 



34 MUCH ADO ABOUT NOTHING. 

Beatrice means, that Hero, in having cozened Claudio-. 
has only acted like the rest of her sex, when striving to 
obtain a husband; and "thus" she observes, " goes every 
one through the world, (cheating) but, I;" and, as I am 
ingenuous and veil not my true sentiments of mankind* 
but expose them, as I do my honest countenance, to the 
rays of the sun, I am neglected and may sit in a corner, 
and cry, heigh ho ! for a husband. 

If the r in through be not sounded, it nearly resembles 
to. There are many persons who sound to — tho: but, 
however the error took place, the correction manifestly 
displays its own value. 



Scene I. — page 56. 

Don Pedro. 1 will, in the interim, undertake one of Hercules' 

labours; which is, to bring Signior Benedick and the 
lady Beatrice into a mountain of affection, the one 
with the other. 

The labour is Herculean, because there are many ob- 
structions to remove ; but, when overcome, as the union 
of bodies forms a mountain; so will their union prove in 
affection.. 



ACT III. 

Scene I. — page 84. 

Ursula. Signior Benedick, 

For shape, for bearing, argument, and valour. 
Goes foremost in report through Italy. 

Thus the text makes Benedick support a greater weight 
than any porter in all Italy. For argument, I shall only 
say, it is the very worst recommendation to a lady's love, 



MUCH ADO ABOUT NOTHING. 35 

as it is not only productive of serious quarrels abroad, 
but also the strongest poison to domestic happiness. 

Dr. Johnson, in his elucidation of argument, gives it 
the most favourable meaning : — discourse, or the powers 
of reasoning." But the powers of reasoning scent too 
strongly of an argumentative disposition, to prove a 
recommendation : In fact, the Doctor and his contem- 
poraries wanted their accustomed penetration. Our 
Author wrote : 

Signior Benedick, 



For shape, forbearing argument, and valour, 
Goes foremost in report through Italy. 

Thus the recommendation is strong; for, though Be- 
nedick is the most valorous man throughout Italy, yet, 
he ever forbears argument, in order to avoid dissention : 
such endowments, I think, could not fail of finding suf- 
ficient influence in the heart of Beatrice. 



Scene IV. — page 110. 
Beatrice. For the letter that begins them all, H. 

However poor this jest appeared to Dr. Johnson, I 
think he mistook its meaning. Heigh ho ! always comes 
with a thoughtful sigh — a want of something: not an 
exclamation resulting from pain. 

Margaret, who is privy to the trick played on Beatrice, 
follows up the heigh ho! with — "for a hawk, a horse, or 
a husband." Now, Margaret only demands, which of the 
three she sighs for ; and Beatrice, that her secret wish 
may remain unknown, answers — H ; meaning, each — she 
would have the three. Margaret knows the wish of her 
heart, and in a subsequent speech, addrest to Beatrice, 
says, — u God send evert/ one their heartfs desire." 



36 MUCH ADO ABOUT NOTHING. 



ACT V. 

Sce:%e I. — page 144. 

Leo nate. Make misfortune drunk 

With candle-wasters. 

The antecedent part of this speech displays the feel- 
ings of a fond parent, labouring under the afflicting wound 
his honour has received in the base defamation of his 
guiltless child : so great, indeed, is his affliction, that it 
refuses every consoling balm which friendship offers. To 
ordinary calamities, no doubt, he would have been sub- 
missive ; but the oppressive weight of his grief, he con- 
ceives beyond human power to bear, and that no person 
could measure woe with his woe, who could "hem when 
he should groan" or " patch grief zoith proverbs /' which 
being, as he conceives, incompatible with real affliction, 
he starts a third impossibility ; and, if any person labour- 
ing under equal distress of mind can do these things, bring 
him hither , says he, u and I of him will gather patience " — 
That which Leonate now requires is, to "make misfor- 
tune drunk with candle-wasters:" — So says the text. 

Had Mr. Steevens reflected, that they are impossibilities 
which the unhappy Leonate requires to be overcome, he 
would not have sent a person labouring under a most 
weighty affliction to a tavern, there to sit during the night 
in dissipated company, and to get drunk by swallowing 
flap-dragons ! — Surely, instead of proposing an impos- 
sibility, a much more effectual mode of getting drunk 
could not be pointed out ; for, by such intemperance, a 
man might drown all sorrow, if drinking and swallowing 
flap-dragons could do it, long before Aurora made her 
appearance. 

Mr. Whally's plan for making misfortune drunk, is a 
very dry one, and would require too large a portion of 
that article which Leonate cannot command — patience. 



MUCH ADO ABOUT NOTHING. 37 

I could give a good recipe for making the beverage to 
which Leonate alludes, but prefer recommending the 
curious to some experienced midwife, who can tell the 
exact quantity of barley, aqua-purae, sugar, spices, &c. 
necessary to make a good Caudle-water ; and if a man, 
labouring under affliction, gets drunk by drinking Caudle- 
waters, then will Leonate gather patience. In future 
then — 



With caudle-waters. 



-Make misfortune drunk 



That is, if it be possible : sick, it may make one who 
would drink of it profusely, but drunk — never. 

The word in the manuscript not being sufficiently in- 
telligible, the compositor made the best he could of it : — 
the u and n are scarcely distinguishable one from the 
other; and having composed candle instead of caudle, 
concluded, that, as there was no such thing as candle- 
waters, it necessarily must be candle-wasters ; and thus, 
with the art of Dr. Faustus, he turned caudle-waters 
into candle-wasters ! 

In Timon of Athens, Act IV. sc. iii. an allusion is 
made to caudle-water, as a grateful beverage after pro- 
fuse drinking. 

" Will the cold brook, 

Candied with ice, caudle thy morning taste, 
To cure thy o'er-night's surfeit ?" 

An insatiable thirst, the following morning, is the con- 
sequence of inebriation ; and, as that thirst should be 
assuaged by a grateful beverage that could not affect 
the head, a caudle-water, such as barley-water, was, we 
may suppose, generally resorted to : for tea, and, I be- 
lieve, coffee also, was not used in England in the time 
of Shakspeare. 



$mt&&ntt for Mt&$uvt. 



ACT I. 

Scene I. — page 188. 

Duke. Then no more remains 

But that to your sufficiency, as your worth is able, 
And let them work. 

This conspicuous jumble of nonsense, which has occa- 
sioned various opinions, requires but one letter and the 
changing of another, to give the passage its original per- 
spicuity, and which unquestionably read : 

. Then no more remains 



But state to your sufficiency, as your worth is able, 
And let them work. 

The Duke having given the seal of sovereign power 
to Escalus, and appointed two magistrates to be co- 
adjutors in the administration, considers, that nothing 
more remains for him to say, except recommending ne- 
cessary splendour, according to his (Escalus' s) sufficiency 
(dignity), and which his worth (wealth), is able to main- 
tain ; and that the more active part of the administration, 
wherein labour is necessary, must devolve on his partners 
in the government. 

The letters being badly formed in the copy, the com- 
positor read — that for state. 



Scene III, — page 205. 

Claudio. Thus can the demi-god, Authority, 

Make us pay down for our offence by weight. — 
The words of heaven; — on whom it will, it will; 
On whom it will not, so ; yet still 'tis just. 

However ingenious the proposed emendation of Dr* 
Roberts may appear, there is another word offers itself 



MEASURE FOR MEASURE, 39 

on this occasion, which corrects the error effectually; 
and which, I have no doubt, was the original. 

The works of heaven; — on whom it will, it will; 
On whom it will not, so; yet still 'tis just. 

Claudio, at first, vents his passion on the Provost for 
his illiberality in making a public show of him ; but find- 
ing that he has only acted according to the orders of 
Angelo, he styles Angelo, the demi~god. Authority, who 
proportions the weight of punishment according to the 
offence; and calling to remembrance the heinousness of 
his crime, he considers the punishment as the zcork, or 
decree of heaven. 



Scene III. — page 208. 

Claudio. Only fox propagation of a dower 

Remaining in the coffer of her friends. 

This error is owing to the carelessness of the person 
who read to the transcriber; who, taking but a hasty 
view of the word, mistook procuration for propagation, 
Claudio means, the dower of Julian, which he deemed 
necessary to procure, or obtain from her friends, prior to 
We should read: 

Only for procuration of a dower 
Remaining in the coffer of her friends. 



Scene IV.— page 217. 

Duke. I have on Angelo imposed the office; 

Who may, in the ambush of my name, strike home, 
And yet my nature never in the sight, 
To do it slander : And to behold his sway. 

This passage has been corrected by two able writers, 
Mr. Pope and Sir Thomas Hanmer. On reading Mr. 
Pope's emandation, — sight for Jight, I was of opinion, 
that it was highly judicious, thinking, an antithethis had 
been designed between ambush (hid) and sight (exposed;) 



40 MEASURE FOR MEASURE. 

but, after analizing the whole, I found the speech so 
unmeaning, that nonsense, only, was conspicuous. — The 
old copies read : 

" And yet my nature never in the fight 
To do in slander, and to behold his sway." 

There are four errors in the present text, two only, in 
the old copy. 

The Duke is supposed to be a considerable distance 
from his territories ; the government of which is placed in 
the hands of certain nobles. Angelo, with the title of 
Deputy, enforces laws, so long dormant, that the people 
had considered them abrogated. But the Duke, in order 
to see to what extent Angelo may stretch power, and 
how far the people may either prove amenable, or re- 
bellious to his laws, will be ever present; but so dis- 
guised, that none shall know him. Thus, then, says the 
Duke, I shall see Angelo "strike home;" t. e. enforce 
the laws to the very letter ; "and yet my nature ever in 
the fight ," (himself not his dignity ', ever present,) to 
witness the contentions and murmurings of the people ; 
66 to dole in slander" that is, to share in the slander with 
Angelo, for enforcing those penal laws, and, at the 
same time, u to behold his sway." 

And, truly, the Duke did dole in the slander ; for, 
Lucio gave him a tolerable share of it : — thus then the 
original : 

And yet my nature ever in the fight 

To dole in slander r and to behold his sway. 

The word fght, being according to the old copy, is 
a restoration : never for ever, mistake of sound and mis- 
conception of the sense : the le in dole, was lost in sound ; 
the emphasis being on the o, it sounded as do-lin, and 
which the transcriber took for do in : the word dole 
might also have been unfamiliar to the transcriber : — in, 
as changed by Sir T. Hanmer for it, must again resume 
its situation ► 



MEASURE FOR MEASURE. 41 

A few words more in defence of ever. If the Duke's 
nature never appears in the fight or sight, how is he to 

behold the sway of Angelo ? and farther, Why should 
the conjunction and precede behold? Is it not, that he 
(the duke) means to hear the scandal and behold his 
(Angelo's) sway. With the word never, the passage 
should read — or to behold, &c. 



ACT II. 

Scene I. — page 228. 

Escalus. Whether you had not sometime in your life 

Err'd in this point which now you censure htm. 

Mr. Steevens supposes some words wanting to com- 
plete the sense of this passage : I am of a contrary 
opinion ; as it appears to me that the object on whom 
the censure is made to fall was in the mind of either the 
transcriber or compositor, one of whom inserted him for 
in : we should read — 

Whether you had not sometime in your life 
Err'd in this point which now you censure in. 

Thus, the demand is a strong appeal to conscience : 
Whether he ever committed the same offence which he 
now so strongly censures in another. 



Scene II. — page 257. 
Isabella. Not with fond shekels of the tested gold, &c. 
I am certain Shakspeare designed an antithesis, and 
wrote — 

Not with fond shekels of detested gold. 

Meaning : I will not bribe you with an article which, 
though fondly prized by man, should be detested on ac- 
count of the mischief it creates, and the corrupt pur- 



42 MEASURE FOR MEASURE. 

poses to which it is appropriated ; but I will bribe you 
" with such gifts that Heaven shall share with you." 
See the antecedent speech of Isabella. 

The word — detested, comes with peculiar force from 
Isabella, who, having relinquished all the vanities and 
luxuries which gold produce, considers it to be the 
source of evil, and therefore should be detested. 

In St. Paul's Epistle to Titus, he observes, that a 
bishop must not be "given to filthy lucre :" and, again, 
u teaching things they ought not, for filthy lucre's sake." 
Surely, whatever is filthy should be detested! 

The person who read to the transcriber, sounded de 
like the, an error very common. 



Scene IV. — page 278. 

Angelo. as these black masks 

Proclaim an enshield beauty ten times louder 
Than beauty could displayed. 

Had my learned predecessors considered, that Isabella 
is in her probation, and habited in the sables of the 
sisterhood, they would have discovered to whom Angelo 
pays this compliment. Her lovely person is enshielded 
in black ; and from her head to the ceinture is covered 
with a black veil, (perhaps raised on the present occa- 
sion :) each part of her dress then, becomes a black mask ; 
and collectively, black masks which proclaim an enshield 
beauty. 



Scene IV. — page 279. 

Angelo. Admit no other way to save his life, 

(As I subscribe not that, nor any other, 
But in the loss #/* question,) 

The question to which Angelo alludes, and which 
Isabella strives to avoid answering, is well understood : 
but though we derive this knowledge from the text, 
nevertheless it is corrupt : we should read — 



MEASURE FOR MEASURE, 43 

Admit no other way to save his life, 

(As I subscribe not to that nor any other,) 

Put in the loss in question. 

The artifice of Angelo wants to obtain an avowal 
from Isabella that, to save her brother's life, she would 
submit to lose her virginity. That he may, therefore, 
take her oflP her guard, he tells her, merely to suppose 
no other means left : though, says he, / do not subscribe 
to that nor any other ; therefore, " put in the loss in 
question," as a means, — would you submit to such terms ? 
<; The loss in question," means her virginity. 



Scene IV. — page 287. 
Isabella. Yet hath he in him such a mind of honour, 

It scarcely requires preamble to impress on the rea- 
der's mind, that we should read: 

Yet hath he in him such a mine of honour, 
His honour is as inexhaustible as a rich mine. 



ACT III. 

Scene I. — page 304. 



Claudio. And the delighted spirit 

To bathe in fiery floods, &c. 

Greater nonsense cannot be exhibited ! How can the 

spirit be delighted, that is condemned to bathe in fiery 

floods ? We should read : 

And the delated spirit 

To bathe in fiery floods, &c. 

Delated (accused) the spirit, or soul accused for its 
criminality, is thus condemned. The transcriber mis- 
took the sound of the word. 



44 MEASURE FOR MEASURE. 

Scene I. — page 312. 

The Duke. And the corrupt deputy scaled. 

When Angelo is found to have been guilty of the 
same offence for which he condemned Claudio to be exe- 
cuted; then crime against crime, opposed in the scales 
of Justice, being of equal weight, will enable the Duke 
to award, Measure for Measure. 



Scene II. — page 314. 

Clown. 'Twas never merry world, since of two usuries, the merriest 
was put down, and the worser allow'd by order of law 
a furr'd gown to keep him warm. 

The passage seems correct. The Clown's idea appears 
to be this — Vice is so prevalent, that virtue has deserted 
the seat where justice should preside. To advance a cor- 
roborant proof, he produces two principles of usury : the 
one in the bawd, who lets out her house on the most 
usurous terms for prostitution: — See Act I. sc. ii. where 
the Bawd says : 

" But shall all our houses of resort in the suburbs he pulFd down?" 
Which immediately corresponds with the text, — " the 
merriest was put down." The other species of usury 
is, a reflection on corrupt magistrates, who, swayed by 
avarice, take bribes and disregard justice. 

The gown so particularized is now worn, in common, 
in all parts of Germany : the body is lined with lamb's 
skin, and the cape, cuffs, and facings, are generally of 
fox skin. A magistrate's gown, formerly, might have 
been distinguished by its colour. 



Scene II. — } )a S e ^20. 
Lucio. Ha? What say'st thou, trot ? 
I am certain we should read: — What say'st thou, 



troth? 



MEASURE FOR MEASURE. 45 

Troth is a petty oath, and which, from Lucio's hear- 
ing the Clown make frequent use of, he has nicknamed 
him, Troth. One instance, perhaps, may suffice : — See a 
subsequent speech in this scene, where the Clown says, 

" Troth, sir, she hath eaten up all her heef, and she is herself in 
the tub/' 



Scene II.— page 329. 

Escalus. This would make mercy swear, and play the tyrant. 

How can this passage be misunderstood ? Mercy is 
all mildness ; therefore, the frequent misconduct of the 
Clown obliges Escalus to correct him. Such misconduct 
would put Mercy in a passion ; nay, even induce Mercy 
to swear , that he should be punished, and thus oblige him 
to play the tyrant. 



Scexe II. — page 334. 

Duke. Twice treble shame on Angelo, 

To weed my vice, and let his grow! 

The Duke charges himself with the vices of his people ; 
who, from his lenity in not enforcing certain laws, had 
become corrupt and lascivious ; and whilst Angelo 
weeded those vices by punishing the offenders, he let 
similar vices grow in himself. 



Scexe II. — page 33i. 

Duke. How may likeness, made in crimes, 
Making practice on the times, 
Draw with idle spiders' strings 
Most pond'rous and substantial things ! 

Mr. Malone's note on this passage is not solely eluci- 
datory, but tends also to prove the necessity of making 
such alterations in the text, as sense and reason require. 
He, however, observes ; that he has adopted the plan 



46 MEASURE FOR MEASURE. 

successfully pursued by Dr. Farmer and Mr. Steevens, in 
supporting the Author's text, by illustrations from con- 
temporary writers. But, while I acknowleged his pro- 
priety, I cannot avoid saying, that such scrupulous 
principles have occasioned many errors to remain undis- 
covered ; for, had a larger field been opened, the eye 
of discrimination could have wandered more at large : 
and Commentators, instead of giving several pages of 
forced elucidations on a single word, as is frequently 
the case, would, by consulting sound and context, have 
discovered truth ; which, being in most cases sufficiently 
clear, required but little additional light from the torch 
of a Commentator. 

In the present passage, which is very dark indeed, 
Doctor Warburton has omitted the word — To. The 
old copy reads: " To draw with," &c. and Mr. Malone, 
deviating from the plan so successfully pursued by Dr. 
Farmer and Mr. Steevens, has changed the word Making 
to Mocking; and for which, he observes, that he is ac- 
countable. But, however judicious this alteration may 
have appeared, I expect it must give way to the origi- 
nal reading. 

The old mode of spelling making, was makeing. Let 
the word Make be detached from makeing, and instead 
of the terminating g, place an s before in, and you have 
the words — Make sin. Thus then we should read : 

How may likeness made in crimes, 
Make sin practice on the times, 
To draw with idle spiders' strings 
Most pond'rous and substantial things ! 

Meaning, He who has the semblance of virtue, with 
a corrupt heart, is so perfect in hypocrisy, that his sinful 
practices are veiled from discrimination, and which he 
often makes the source of riches, honour, and influence, 

In Henry V. we meet a similar idea : 

" When devils do their blackest sins put on, 
They do suggest at first with heavenly shows." 



MEASURE FOR MEASURE, 47 



ACT IV. 

Scene II. — page 352. 

Duke. That spirit's possess'd with haste, 

That wounds the unsisting postern with the.se strokes. 

Judge Blackstone says, " unsisting may signify never 
at rest, always opening" Mr. Rowe reads, unresisting: 
Sir T. Hanmer, unresting . In my opinion, the author 
wrote, unlisting postern ; meaning-, that which hears not, 
though it produces the noise. 

On my first reading of this passage, I had not observed 
Mr. M. Mason's proposed emendation. I am happy to 
find, that my idea of the original word corresponds with 
a gentleman's, whose critical judgment so eminently il- 
lustrates the works of our great Bard. 



Scene II. — page 357. 
Duke. Shave the head, and tie the beard, &c. 

Surely scrupulous delicacy should give way to just pro- 
priety. Mr. Simson is certainly correct; no doubt our 
Author wrote — "die the beard." This reading is justi- 
fied by a passage in the third scene of this Act: 
" A man of Claudio's years: his beard and head just of his colour. 

Moreover, if the age of Claudio be considered, his 
beard could not have attained a sufficient length for 
tying. 



Scene II.— page 364. 

Clown. — all great doers in our trade, and are now for 

the Lord's sake. 

Those debauchees, who were all great doers in his trade, 
were well fleeced in the brothels; and beiiis: now in 



48 MEASURE FOR MEASURE. 

prison, will become the prey of lawyers. I am confi- 
dent our Author wrote : 

And are now for the law's sake. 



Scene TV.— page 375. 

An gelo. But that her tender shame 

Will not proclaim against her maiden loss, 

How might she tongue me ? Yet reason dares her ? — No : 

This blunder belongs to the transcriber, and which 
has given vast labour to my predecessors. We should 
read : 

Yet treason dares her ? — No : 



For my authority bears a credent bulk, 
That no particular scandal once can touch, 
But it confounds the breather. 

Thus, the internal accuser awakens his apprehensive 
fears ; — " Isabella is deflowered, and that by me, — I en- 
forced the laws against her brother for an oifence similar 
to that which I have committed; and were it not for 
making known her maiden loss, how strongly would her 
elocution plead against me?" Here, Angelo conceives 
himself secure ; but recollecting the sacred promise he 
had made to Isabella, and which he basely violated, by 
causing her brother to be executed ; the treason of this 
nefarious act strikes terror to his soul ; and, for a moment 
he beholds himself arraigned, and charged with the 
double offence, even in the Duke's presence. "Treason, 1 ' 
says he, "will dare her:" i. e. will actuate, will impel 
her to seek revenge : but recollecting his authority in 
the state; his character for austerity; his great credit 
with the Duke; and, his activity in enforcing the laws, 
confidence is renewed in his bosom, and he, emphatically, 
defies even the charge of this vile treason: — -"No!" 
says he, "for my authority bears a credent bulk," &c. 
and thus depending on his reputed virtues and rigid 
principles, he fondly lulls apprehension, and thinks, that 



MEASURE FOR MEASURE. 49 

the cries of real injuries, seeking for redress, would ap- 
pear in the eyes of the Duke as a base calumniation of 
his character. 

It is scarcely necessary to say, that the t in yet being 
sounded rather emphatically, the t in treason was lost to 
the ear of the transcriber. 



ACT V. 

Scene I. — page 402. 

Duke. — — laws, for all faults ; 

But faults so countenanc'd, that the strong statutes 
Stand like the forfeits in a barber's shop, 
As much in mock as mark. 

This is as ludicrous a blunder as any in our Author's 
plays ; and various have been the attempts to force its 
elucidation : nay, forgery, it is said, was adopted by 
Mr. Kenrick, to give a list of the supposed forfeits which 
barber-surgeons exacted from those customers that de- 
viated from their established rules ! 

On the absurd idea that such a custom ever prevailed, 
either on the Continent or in England, I shall be silent; 
and, being satisfied that the passage is grossly corrupt, I 
hasten to restore the original reading. 

This error, like numbers of the same class, originates 
from mistake of sound: instead of forceps, the very sa- 
gacious transcriber gave the more familiar word— forfeits. 
The passage corrected affords a new figure. 

laws, for all faults; 



But faults so countenanc'd, that the strong statutes 
Stand like the forceps in a barber's shop, 
As much in mock as mark. 

The exasperated Duke considers his laws as mocked 
by the people ; and that they afford as much food for 



50 MEASURE FOR MEASURE. 

merriment, as loungers in a barber's shop, derive, by 
playing tricks on each other with the forceps, which is 
exposed as a mark of the barber's profession. Thus the 
forceps in a barber-surgeon's shop, became the mock of 
idlers, though exhibited as a mark of surgical knowledge ; 
and, in like manner, the Duke's laws had become the 
mock of the dissolute, though they were the mark of le- 
gislative wisdom. 

One use of the forceps, and which might have been 
food for mirth, was, their application in extracting a 
bone, when lodged in the throat of any person : and gay 
idle loungers in a barber's shop, no doubt, found amuse- 
ment in pointing the forceps to the mouth of a compa- 
nion, while under the operation of shaving : the posi- 
tion for shaving, and that, when seated to have a bone 
extracted from the throat, being precisely the same. 

Then, again: The forceps used by an accoucheur, 
would, to the dissolute, afford similar cause for idle 
mirth. 



Hobt'iS 3tatK>ttr ilogt 



ACT I. 

Scene I. — page 14. 



King. A man of complements, whom right and wrong 
Have chose as umpire of their mutiny, &c. 

Armado is so full of false compliments, and so con- 
descending, that he agrees with every opinion; and, 
whether through policy or principle, so sworn an enemy 
to contradiction, that he will side with right, when ad- 
dressed by right, and with wrong, in like manner ; there- 
fore, if right and wrong cannot be friends, it is not the 
fault of the umpire. 



Scene I. — page 15. 

King. This child of fancy, that Armado hight, 
For interim to our studies, shall relate, 
In high-born words, the worth of many a knight 
From tawny Spain, lost in the world's debate. 

The words, lost in the worlds debate, allude to the 
Emperor Charles V. who, about the period when this 
play was produced, had abdicated his throne in favour 
of his son, Philip ; and having- retired from the world, 
by taking up his residence in the monastery of St. Just, 
was there lost in the world's debate. 



Scene I. — page 18* 
Longaville. A high hope for a low having -. God grant us patience. 
The allusion is to a ship's head, decorated with the 
figure of Hope. Longaville compares the high flowing 



E'2 



52 LOVE'S LABOUR LOST. 

words of Armado, to the awkward appearance of a ship, 
with an elevated figure of Hope, lying* in a low haven. 
Lcngaville also plays on the word hope, which is used 
as a verb by Biron, but, by himself as a substantive ; 
and Hope being- symbolical of Patience, he concludes 
his speech with, God grant us patience. 

The old copies read, a low heaven : the transcriber 
mistook the word, and wrote heaven, instead of haven. 



Scene II. — page 30. 
Armado. Is there not a ballad, boy, of the King and the Beggar? 

I do not think our Author had in view the old ballad 
in Dr. Percy's Collection, as supposed by Mr. Steevens ; 
but, that he might reflect on the weakness of the Em- 
peror Charles V., personifies both the King and the 
Beggar in him. It is well authenticated, that the small 
revenue he was to receive from Philip, to support him- 
self and followers, was not paid; which compelled 
Charles to solicit relief from others, who had formerly 
been his dependents ; and thus, the King became a beggar. 
The subsequent speech of Armado confirms this expli- 
cation : 

" I will have the subject newly writ o'er, — that I may example 
my digression by some mighty 'precedent." 



ACT II. 

Scene I. — page 37. 



Maria. In Normandy saw I this Longaville : 

A man of sovereign parts he is esteem'd. 

The first quarto, 1598, has the line thus : 

"A man of sovereign peerlesse, he's esteem'd.' 



LOVE'S LAEOLR LOST. 53 

The word his would have saved our Commentators an 
infinity of trouble. Our Author wrote : 

A man of his sovereign peerless he's esteem'd. 

The hissing sound of the terminating- letter in his, and 
the 5 in sovereign, deceived the transcriber. The sense 
of the passage is obvious : — A man who, in the estimation 
of his sovereign, has no equal. 



Scene I. — page 43. 

King. Which we much rather had depart withal, 
And have the money by our father lent, 
Than Aquitain so gelded as it is. 

Gelded has a double meaning here:— Gelt, in the 
German language, means money ; and with which word, 
our Author makes gelded correspond. The King alludes 
to the heavy sum lent by his father on part of Aquitain ; 
and the other part being cut off from his possession, he 
deems what he holds not sufficient security for his money. 



Scene I. — page 49. 

Bo yet. All senses to that sense did make their repair, 
To feel only looking on fairest of fair. 

This jumble proceeds from unintelligible copy, and of 
of which the compositor made the best he could. Our 
Author wrote : 

All senses to that sense did make their repair, 
To feed on by looking on fairest of fair, 

Meaning : That all his other senses flew to his eyes, 
and enjoyed the delicious luxury of feeding on her 
beauties. 

The d being badly formed in the copy, was taken for 
an / — on by, and only, are alike in writing, if on and by 
be apparently joined. 



hi LOVE'S LABOUR LOST, 



ACT IV. 



Scene 111.— page 107. 
Dumain. Her amber hairs for foal have amber coted. 

There are three errors in this verse, and all owing to 
mistake of sound. The old copies read — coted, which 
Dr. Johnson observes, is the old mode of spelling quoted. 
But, admitting the word to mean quoted, what weight can 
it have in the scales of elucidation ? From the text we 
must conclude, that amber coloured hair was esteemed a 
beauty, and that Dumain, as the admirer of Catherine,, 
praises her hair for its colour. But, how, according to 
the form of the present reading ? Mr. Malone says, 
quoted means — marked, or written down; but if amber 
has writte?? down, that Catherine's hairs are foul, does not 
the lover dispraise what he considers a beauty ? and, if 
we take the explication,, that her hairs, have written down 
amber for foul, all beauty is lost, and we also lose the 
comparison ; for the amber hair is no longer considered 
a beauty. In short, the text is so foul, that all attempts 
at satisfactory elucidation are vain. Our Author wrote : 

Her amber hairs four -fold have amber coated. 
Meaning : that nature, in giving Catherine's hairs that 
beautiful gloss and colour^ had, as it were, coated them 
four-fold with amber. 

Now, let us see how far this reading is connected with 
Biron r s observation, who immediately says, — 

"An amber-colour'd raven was well noted." 
Meaning : that Catherine's hairs were as black as a ra- 
ven : but that she had coated them with amber colour. 



Scene III. — page 114. 

Bin ox. I am betray'd, by keeping company 

With moon-Wee men, of strange inconstancy. 

The old copies read: — "With men-like men." The 
present reading is supplied by Mr. M. Mason. The 



LOVE'S LABOlR LOST. 55. 

penetration of Mr. Mason is generally very acute; but, 
in this instance, I cannot concur in opinion that our 
Author wrote — moon-like men. 

The moon's changes being established by the order 
of nature, and governed by system, cannot be termed 
inconstant : from month to month, and to eternity, the 
same system produces the same effects. What simila- 
rity then can be drawn between an inconstant man, who 
has no fixed principle to govern his actions, and the 
moon ; which, since the creation of the world, has never 
varied from its established order ? 

Now, in my opinion, the text in the old copies, — 
" men -like men," is not so far removed from good 
sense as our Commentators have imagined; and the 
entire error is owing to a break rule, thus : ( — ) being- 
taken by the compositor for a hyphen. See the error 
corrected : 

I am betray'd, by keeping company 

With men, — like men of strange inconstancy. 

Surely, nothing can be clearer. Biron means, that he 
is ashamed to have associated with men, who, by de- 
viating from their solemn vow, have acted like men of 
strange inconstancy ^ i. e. like men devoid of stability. 



Scene III. — page 126. 

Biron. And, when love speaks, the voice of all the gods 
Makes heaven, drowsy with the harmony. 

Mr. Tyrwhitt observes, " few passages have been more 
canvassed than this." The changing a single letter may, 
however, prevent literary labour on this passage here- 
after. The M and W have,, what printer's term, the 
same body ; and the ancient TV y reversed, had all the 
appearance of an M: thus, then, arose the error ; the 
W was reversed, which gave the word Makes , instead of 

Wakes heaven, drowsy with the harmony. 



56 LOVE'S LABOUR LOST. 

Which beautiful idea means: When Love speaks, the 
heavenly bodies and elementary system are lulled to a 
drowsy calmness, and which continues until the heavenly 
choir, exalting the voice of praise, wakes them ; when 
they resume the functions ordained by nature, and which 
could only have been suspended by the harmonious voice 
of Love. 

Thus, the antithesis designed by the Author is brought 
to light. The heavenly bodies, which were lulled to 
drowsiness, are awakened. 



ACT V. 

Scene I. — page 139. 

Armado. -I do beseech thee, remember thy courtesy;— I 

beseech thee apparel thy head : 

My and thy, if not distinctly written, are frequently 
mistaken. We certainly should read, my courtesy; 
meaning, his condescension, in telling Holofernes to 
wear his hat in his presence. 



Scene II. — page 156. 
Kin©. Yet still she is the moon, and I the man. 

I am of Mr. Malone's opinion, that this line should 
have a corresponding one to rhyme with it, but do not 
think a line lost. Both the King and Rosaline play on 
the word it. In all probability our Author wrote — 

King. Yet still she is the moon, and I to man it, 

The music plays; vouchsafe some motion to it. 
, Rosaline. Our ears vouchsafe it. 
King. But your legs should do it. 

Thus, each line corresponds in measure. The King^s 
meaning is obvious. 



LOVE'S LABOUR LOST. 57 

Scene I. — page 158. 

Katherixe. Veal, quoth the Dutchman;— Is not veal a calf? 

As we derive calf from the German calb. The Ger- 
mans and Dutch are surprised that we call a calf, when 
slaughtered, veal,- they call it calb-Jlesch. 



Scene I. — page 1T5. 

Biro*. Some mumble-news, some trencher-knight, some Dick,— 
That smiles his cheek in years; and knows the trick 
To make my lady laugh, when she's dispos'd. — 

Mr. Theobald's head has been attacked by Dr. War- 
burton for not comprehending the meaning of this pas- 
sage : for my part, in its present state, I cannot fathom 
sense out of that deep phrase, smiles his cheek in years. 

The Dick, the character particularized, that makes his 
lady laugh when she's disposed for mirth, is a sort of 
buffoon, or merry-andrew, who plays off his tricks for 
that purpose. Among other tricks practised by such 
drolls, that of smiting their cheek, which is performed 
by a sleight, has an effect that creates risibility in the 
spectators ; and, as the stroke is generally followed by 
distortion of countenance and tears, I am strongly in- 
clined to think our Author wrote — 



some Dick, 



That smites his cheek in tears, and knows the trick, &c. 

In the word smites, there requires but a t for an I ; 
which error was owing to the cross to the t having been 
omitted : — tears for years, requires but aHn place of the 
y: the passage, thus corrected, is perfectly familiar : 



Scene II. — page 183. 

Birox. Abate a throw at novum; and the whole world again, 
Cannot prick out live such, take each one in his vein. 

The authentic copies read, "Abate throw at novum." 
The second folio, u a bare throw /' and Mr. Malone 



58 LOVE'S LABOUR LOST. 

reads, " Abate a throw/' which, being considered judi- 
cious, has received literary sanction. However, a more 
conspicuous corruption cannot be found in these plays. 
I read : 

A bait throw at novum, and the whole world again, 
Cannot prick out five such, take each one in his vein. 

By which bait, the person whom the King styles Novum 
(Holofernes), shall be so confounded in his part, that 
great sport may be expected. When Holofernes ap- 
pears, as Judas Macabaeus, the bait is thrown, and so 
effectually to his confusion, that the Princess exclaims — 

" Alas, poor Macabaeus, how hath he been baited!" 

The error is easily accounted for; the transcriber 
gave the verb abate, instead of the article and substan- 
tive : — a bait and abate, being exactly alike in sound., 



Scene II. — page 203. 

Princess. If frosts, and fasts, hard lodging, and thin weeds, 
Nip not the gaudy blossoms of your love, 
But that it bear this trial, and last love. 

The text is correct. The Princess means : If what he 
now professes, continues; that is, if his love continues un- 
altered; after these trials, she will give him her hand. 



Scene II. — page 207. 

Rosaline. then, if sickly ears, 

Deaf 'd with the clamours of their own dear groans. 

There requires but a letter to obtain the original 
reading : 

Deaf 'd with the clamours of their own drear groans. 

Meaning, the melancholy groans which issue from those 
who languish in hospitals, on the bed of sickness. 

The compositor took but a cursory view of the word r 
and gave that most familiar, though void of sense,. 



gftm&ant of tJtnitt. 



ACT II. 

Scene II. — page 265. 



Lauivcelot. Away; says the fiend, for the heavens; rouse vp a 
brave mind, says the fiend, and run. 

The obscurity of this passage arises from false punc- 
tuation : corrected, the sense is obvious. 

Away ; says the fiend; for the heavens rouse up a brave mind, says 
the fiend, and run. 

We have already in this play, — " The devil cites scrip- 
ture for his purpose ;" and, for the arch fiend to stimulate 
the breast of innocence, by an instigation, that heaven 
will approve the action, is perfectly consonant with his 
evil machinations. 



Scene II. — page 267. 
Gobbo. By God's sonties, 'twill be a hard way to hit. 

" Sonties seems a corruption from the French word saute, 
(health,) and in allusion to the Almighty — ever perfect, 
unchangeable: or, perhaps, from bonte (goodness.) To 
swear, by the goodness of God, is considered a venial 
oath. If the latter, perhaps our Author wrote — By 
God's bonties. The corruption either way is admissible. 



Scene II. — page 272. 

Launcelot. Well; if any man in Italy have a fairer table, which 
doth offer to swear upon a book. — I shall have 
good fortune, &c. 

This controverted passage will read perfectly clear by 

closing the breach, and introducing two parenthesis. 

Well; if any man in Italy have a fairer table, (which doth offer 
to swear upon a book,) I shall have good fortune, &c. 



60 MERCHANT OF VENICE. 

Launcelot prognosticates his own good fortune with 
confidence ; he is convinced there are many men in Italy 
have fairer hands; therefore, he is certain that the table 
of his hand denotes good fortune : he plays on the word 
fairer; alluding to purity, in extending the hand to re- 
ceive the sacred book to make a judicial attestation, and 
to fairer , (whiter) : he knows his own hand is not fair. 



Scene III. — page 277. 



Launcelot. ; — If a Christian do not play the knave and 

get thee, — I am much deceived: 

Mr. M. Mason would read, — " did not play the knave," 
&c. which gives the passage quite a different meaning. 
Surely, a Christian could not marry Jessica, without play- 
ing the knave, should he carry her off clandestinely ? But 
who, for a moment, can doubt Launcelot's meaning ? He 
is the confidant of the lovers — their letter-carrier ; and, 
certainly, could not be blind to their intentions. Besides, 
would a servant bastardize his mistress to her face, and 
cast a blot of infamy upon her mother ? That Launcelot, 
therefore, means the elopement of Jessica is, in my 
opinion, evident; and strongly corroborated by other 
subsequent passages. In the fifth scene of this Act, 
Launcelot says to Jessica, — 

" There will come a Christian by, 
Will be worth a Jewess' eye." 

Accordingly, she awaits Lorenzo's arrival, and elopes 
with him. But, see how far the Christian conceives him- 
self to be a knave : 

"When you shall please to play the thieves for wives, 
I'll watch as long for you then." 

Thus, we have almost a repetition of Launcelot's words. 



MERCHANT OF VENICE. 61 

Scene IV.— page 286. 

Lorenzo. When you shall please to play the thieves for wives, 
I'll watch as long for you then.— Approach. 

Though Sir Thomas Hanmer's emendation gives this 

verse its due measure; by a slight transposition, the 

Author's words will have the same effect. I would 

read : 

When you shall please to play the thieves for wives, 
Then will I watch as long for you. — Approach. 



Scene TO!.— page 294. 

Salarin o. And for the Jew's bond, which he hath of me, 
Let it not enter in your mind of love : 

Three errors appear in this passage, all owing to the 
loss of fa, which having dropped out of the page in its 
metal state, left two words remaining instead of one : 
and this error occasioned a second in the word of The 
original, unquestionably, read : 

And for the Jew's bond, which he hath of me, 
Let it not entertain your mind off love. 

Meaning : Let not the Jew's bond dwell upon your me- 
mory, so as to intervene between you and happiness, or 
draw your attention off love ; but, be merry; and employ 
your ehiefest thoughts to courtship. 



Scene VIII. — page 296. 

Salanio. I pray thee, let us go, and find him out, 
And quicken his embraced heaviness, &c. 

Antonio, as yet, is ignorant of any loss; why then 
should he embrace heaviness ? The transcriber certainly 
mistook the word, and for impressed, wrote embraced. 

let us go, and find him out, 

And quicken his impressed heaviness. 



62 MERCHANT OF VENICE. 

Meaning : Let us introduce him where, by some delight 
or other, the heavy impression may be removed. 



Scene IX. — page 301. 

Arragon. Take what wife you will to bed, 
I will ever be your head : 

Dr. Johnson observes: "Perhaps the Poet had for- 
gotten, that he who missed Portia was never to marry 
any woman." In my opinion, the Poet had not so 
treacherous a memory; but, the compositor, because a 
bed was introduced, deemed it necessary to place a wife 
therein. — The Poet wrote : 

Take what wise you will to bed, 
I will ever be your head : 

i. e. Go to bed in what manner you will, a blinking- idiofs 
head will rest upon your pillow: politely, calling the 
Prince of Arragon, a blinking idiot, for not choosing the 
valuable casket. 



ACT III. 

Scene II.— page 318. 

Bassakio. But her eyes, — 

How could he see to do them ? having made one, 
Methinks, it should have power to steal both his, 
And leave itself unfurnish'd: 

The artist must finish one eye in a painting, before he 
can give corresponding beauty to the other. This is the 
figure which strikes Bassanio; he wonders, when the 
painter had made one eye, that its beauty did not steal 
both his, — 

And leave it's self unfurnish'd. 

Meaning : — Its fellow eye. By the word unfurnish'd, he 
means, the ornaments of the eye — the eye-brows^ &c. 



MERCHANT OF VENICE. 63 

In this blunder there is some apology for the tran- 
scriber, who wrote as another person read to him ; no 
ear can distinguish itself horn its self unless a short pause 
be observed between its and self. 

The delicate idea which this passage now conveys, is, 
I believe, original; I do not recollect meeting, in our 
Author's works, its similitude. 



Scene IV.— page 333. 

Portia. Bring them, I pray thee, with imagin'd speed 
Unto the tranect, to the common ferry 
Which trades to Venice : — waste no time in words, &c. 

This passage would certainly have defied my pene- 
tration, had it not been for the light I received from 
part of Mr. Malone's note, which is as follows : 

" Twenty miles from Padua, on the river Brenta, there 
is a dam, or sluice, to prevent the water of that river from 
mixing with that of the marches of Venice. Here the 
passage-boat is drawn out of the river, and lifted over 
the dam by a crane. From hence to Venice the distance 
is five miles." 

A crane, thus particularized, and but five miles from 
Venice, whither Portia is going, becomes, not only an 
object of curiosity, but a guide to travellers on the road 
to Venice. It is immediately connected, or adjoining the 
ferry which receives the boats when drawn out of the 
river Brenta. It requires then no great skill to develop 
the Author's meaning, his text having been, originally, 
sufficiently clear. 

Bring them, I pray thee, with imagin'd speed 

Unto the crane, next to the common ferry 

Which trades to Venice: — waste no time in words, &c. 

Mr. Malone's note is a clear elucidation : and if the old 
crane, next to the common ferry, be not there at present, 
no doubt a new one has been erected. 



64 MERCHANT OF VENICE. 

The compositor having composed the word crane, for* 
got the ne of next, from having just composed the same 
letters ; which making cranext, the person who read for 
the press, not knowing such a word, made it tranect, 
which proved equally incapable of illustration. 

I cannot but testify some surprise, that Mr. Malone, 
with this knowledge of the crane, should have overlooked 
the necessary correction; and yet so perfectly was it 
veiled from him, that he supposed "some novel-writer 
of Shakspeare's time might have called the dam by the 
name of the tranect" Mr. Rowe changed tranect to 
traject, which, though it made gross tautology, was 
adopted by all the subsequent Editors. 



Scene V. — page 338. 
Lorenzo. Goodly lord, what a wit-snapper are you ! 

False punctuation has rendered this passage corrupt ; 
we should read : 

Goodly : — lord, what a wit-snapper are you ! 

Launcelot says, — "they have all good stomachs." — 
Ay, goodly, says Lorenzo: — meaning, goodly stomachs. 
This is a common ellipsis. 



Scene V. — page 339. 

Lorenzo. Yet more quarrelling with occasion ! 

Some strokes of wit pass between master and man, but 
I perceive no quarrelling : nor can I make any reasonable 
sense out of the passage. The transcriber seems to have 
mistaken two words : I read — 

Yet more quibbling: — What occasion? 
Or, 

Yet more quibbling without occasion! 



MERCHANT OF VENICE. 65 

Lorenzo thinks Launcelot has quibbled too much on 
words. A hungry man, awaiting- his dinner, disapproves 
unnecessary loquacity. 



Scene V.—page 339. 
Lorenzo. O dear discretion, how his words are suited! 

If Lorenzo does not mean the contrary, we should 
read — sorted. 

Launcelot had sorted out an army of good words, and 
now misapplies them. 



ACT IV. 

Scene I. — page 344. 



>HYLOCK, 



Some, that are mad, if they behold a cat; 
And others, when the bag-pipe sings i'the nose, 
Cannot contain their urine; For affection, 
Mistress of passion, sways it to the mood 
Of what it likes, or loaths. 

This passage has afforded more than common scope 
for controversy, and is deemed by all my predecessors 
as peculiarly difficult : Some Commentators mistress it; 
others master it; but still, it has mastered all their in- 
genuity. Mr. Rowe has — masterless ; yet, after all, by 
changing a single letter — a t for an s, the error being 
merely a misprint, we gain the Author's word. The 
old copies read : 

" And others, when the bag-pipe sings i'the nose, 
Cannot contain their urine for affection. 
Masters of passion, sways it to the mood 
Of what it likes or loaths." 

The reader will observe that, according to the reading 
of the old editions, there is no point after the word 
urine, and that a full point is placed after affection. 



66 MERCHANT OF VENICE. 

The allusion of Shylock is not confined to the influence 
which music has upon our sense; but also extends to 
the various constitutional affections of the mind, and to 
habits become constitutional from antipathies, and which 
reason cannot overcome. Thus, a gaping pig, which 
affects some, may be indifferent to those who cannot 
behold a cat ; and those who cannot contain their urine 
for affection , when they hear a bag-pipe sing Vthe nose, 
may disregard both pig and cat, or any other antipathy 
attached to humanity : therefore, Shylock means : — that 
matters of passion sway our understanding, and hold such 
influence over the mind, that, though reason disap- 
proves, yet will those passions predominate, and subject 
us to what it either likes, or loaths. See the passage 
corrected, and its closeness to the reading of the old 
copies. 

And others, when the bag-pipe sings i'the nose, 
Cannot contain their urine for affection: 
Matters of passion sway it to the mood 
Of what it likes or loaths. 

Affection is the relative : Matters of passion sway the 
affections of the mind : as though he said, — The influence 
of fancy operates upon the imagination. Now, that which 
governs Shylock is, — a lodged hate and a certain loathing 
which he bears Antonio, and which nothing but a pound of 
his flesh can satisfy. 



Scene I. — page 347. 

Shylock. Why he, a swollen bag-pipe; but of force 
Must yield to such inevitable shame, 
As to offend, himself being offended; 

Our Commentators all agree, that the pipes to which 
Shylock alludes, must have had a bag; but whether a 
woollen-bag ; a wooden-bag; or a swollen-bag, has not 
been definitely arranged : however, as the swollen-bag of 



MERCHANT OF VENICE. 67 

Sir John Hawkins seems to have created the best sound, 
it has gained the preference. 

In the sylvan scenes in Scotland, we frequently behold 
lovers seated on a bank ; the swain charming his nymph 
with the mellifluous sound of his bag-pipe : but the 
drone, and which is very dissonant to many, he, on such 
occasions, arrests : and then, his bag-pipe sings fthe nose. 
Now, a bag-pipe thus played, is called a wooing bag- 
pipe ; and, for this reason: the drone is seldom stopped, 
but for soft airs ; and, as such airs have greatest influ- 
ence on the heart, the softness, or wooing sound of the 
pipes, aids the lover in wooing his mistress. This, then, 
is the sound which makes Shylock say, — as there is no 
Jinn reason to be rendered why some cannot contain their 
urine, when they hear — 

a wooing bag-pipe; but of force 



Must yield to such inevitable shame, 

As to offend, himself being offended; 

So can I give no reason, nor I will not, 

More than a lodg'd hate, and a certain loathing, 

I bear Antonio, &c. 

Woollen is the reading of all the old copies : evidently 
from the transcriber mistaking the sound of the word : 
but surely, common sense must tell us, that it is not what 
the bag is made of causes that peculiar affection to which 
Shylock alludes ; for, a bag of any elastic substance which 
confines the air, must yield that effect which the pipes 
require. 



Scexe I. — page 365. 
Portia. I humbly do desire your grace of pardon. 

This passage has been misunderstood, and altered by 
modern Editors to — " Your grace's pardon," But Por- 
tia does not address the Duke by the title of u Your 
Grace;''' but applies the word grace, — meaning, favour; 
as though she said — I humbly do desire , the favour of 
your pardon. 



&6 ¥ou Htfte it 



ACT I. 

Scene I. — page 8. 
Oliver. Marry, sir, be better employ'd, and be naught awhile. 

Why should Orlando reply, — " Shall I keep your 
hogs?" if Oliver, (as Mr. Malone explains this passage) 
tells him to remain a cypher till he shall elevate him into 
consequence. Surely, from this promising aspect, good 
fruit is likely to be the result of patience. But, this 
Orlando expects not; for, in his preceding speech, he 
observes, that " he is spoiling with idleness, that which 
God made perfect:" from which observation, Oliver, in 
my opinion, retorts, by telling him to be, — 

better employ'd, and be wrought awhile. 

Meaning: go work then. What work? says Orlando, 
" I am not taught to make any thing," — " shall I keep 
your hogs?" Thus, he exposes his brother's cruelty, 
neglect, and injustice. The reply speaks conviction, that 
wrought was the original reading. 



Scene I.— page 10. 



Orlando. albeit, I confess, your coming before me is nearer 

to his reverence. 

Dr. Warburton would read, revenue. But the sense 
of the passage has been mistaken by the learned Com- 
mentator. Orlando means,— that his brother being the 
senior by years, brings him nearer to his father's reverend 
appearance. This cut has its effect : Oliver is satisfied 
at being the senior, but would avoid a distinction which 



AS YOU LIKE IT. 69 

brings him nearer the appearance of that age, which he 
remembers in his father. 



Scene II. — page 23. 

Rosalind. But is there any else longs to see this broken musick 
in his sides ? 

Has any person attempted to set the ribs of the three 
wrestlers? that Dr. Warburton should say, the poet 
wrote, set this broken musick, &c. Surely, " his sides''' 
must mean another person, and has no relation with the 
wrestlers who have got broken ribs. But, as Dr. John- 
son, who proposes to readme/, has explained the impos- 
sibility of setting broken ribs to musick, I shall try if I 
can set the passage to rights with my pen. 

Three men have been defeated by the wrestler, and 
all come off with broken ribs. Rosalind, astonished that 
men will subject themselves to such disasters, demands : 

But is there any else longs to seek this broken musick in his sides ? 

Meaning : Is there any one else foolish enough to seek ho- 
nour, by wrestling with a man who has already broken 
the ribs of three competitors. The word, musick, is wan- 
tonly employed to denote her disgust of such dangerous 
games, and alludes to the crash which breaks the ribs. 

The k dropped out of the page, and as the remaining 
letters formed a word, the error passed unnoticed. 



Scene II. — page 26. 

Orlando. I beseech you, punish me not with your hard thoughts; 
wherein I confess me muc 
excellent ladies any thing 



wherein I confess me much guilty, to deny so fair and 



In my opinion a word is wanting. I would read, and. 
I believe, correctly, — 



70 AS YOU LIKE If. 

I beseech you, punish me not with your hard thoughts: wherein 
I find myself guilty is, to deny so fair and excellent ladies any 
thing. 

This reading elucidates itself. 



Scene I. — page 29. 
Rosalind. one out of suits with fortune. 

Suits — solicitations. One whose solicitations Fortune 
disregards. 



Scene III. — page 37. 

Celia. And do not seek to take your change upon you, 
To bear your griefs yourself, and leave me out; 

The second folio reads, charge; which corresponds 
with "bear your griefs" Celia will not suffer her to 
bear the eJiarge^ but will share in the oppressive weight 
of her afflictions. 

The second folio gives a much better sense than can 
possibly be extracted from the present text. 



ACT II. 
Scene VII. — page 64. 



Jaques. A fool, a fool ! 1 met a fool i'-the forest y 

A motley fool; — a miserable world! — 

This passage is evidently corrupt. I am certain the 
Author wrote, — 

A fool, a fool !■ 1 met a fool i'the forest, 

A motley fool; — a miserable! — Well, — 
As I do live by food, I met a fool, &c. 

In All's Well that Ends Well, Act IV. sc. v. 
Lafeu says, " A shrewd knave, and an unhappy." This 
corresponds with a miserable , and is a similar phraseology. 



AS YOU LIKE IT. 71 

Scene VII. — page G8. 

Jaques. Why, who cries out on pride, 

That can therein tax any private party? 
Doth it not flow as hugely as the sea, 
Till that the very very means do ebb? 

The old copy reads, weary very, which Mr. Pope 
altered to very very. But I would be glad to know, what 
are the very very means of pride, that doth ebb ? — If 
high birth, though in poverty, it will not ebb while the 
blood flows. If it ebbs from loss of fortune in some, it 
is not so in general ; for pride is stubborn, and will not 
quit that bosom wherein it was planted by nature. In 
short, the passage, though it has received assistance by 
Mr. Pope's correction, is very corrupt. 

Pride, in humanity, is compared to the flowing of the 
sea: Jaques supposes it inherent in our nature: and 
more or less predominant, according to the quality or 
power of the blood. In short 7 he considers pride as a 
venom, incorporated with the blood, and which will con- 
tinue to flow until the blood means to ebb, at which 
period pride and life cease. This is the interpretation I 
draw from the passage thus corrected : 

Doth it not flow as hugely as the sea, 
Till that the weary venom means to ebb. 

There seems to have been a confusion created by the 
terminating m in venom, and m commencing means : the 
word to was probably changed to do, in order to throw 
some light on Jaques' meaning. 



ACT III. 

Scene II. — page 97. 



Rosalind. Good my complexion! dost thou think, though I am 
caparison'd like a man, I have a doublet and hose 
in my disposition ? 



72 AS YOU LIKE IT. 

This passage, in its present state, cannot admit of 
elucidation ; but, corrected, I think it produces a lively 
sense. 

And here, I hope it will not be deemed invidious, that 
I introduce my predecessor's notes on this passage. 

Good ivy complexion!^ — This is a mode of expression, Mr. Theobald 
says, which he cannot reconcile to common se?ise. Like enough: 
and so too the Oxford Editor. But the meaning is — Hold good 
my complexion, i. e. let me not blush. Warburtotv. 

That both Mr. Theobald and the Oxford Editor were 
correct in their observations, I am certain ; and, that 
Dr. Warburton has put a construction on the passage, 
incapable of being obtained from the nonsense it exhibits, 
I assert with equal confidence, and believe it diametrically 
opposite to our Author's meaning. 

Good my complexion!^ — My native character^ my female inquisitive 
disposition, canst thou endure this ! — For thus characterizing the 
most beautiful part of the creation, let our Author answer. 

Ma lone- 

Mr. Malone should rather answer, for thus charac- 
terizing the most beautiful part of the creation! as for the 
Author, I shall answer for him. 

Good my complexion /] — Is a little unmeaning exclamatory address 
to her beauty; in the nature of a small oath. Ritson. 

It must be very small indeed, for, I swear, I cannot 
perceive it. 

The circumstance of the chain, has already whispered 
to the heart of Rosalind, that Celia means Orlando ; but, 
pretending ignorance, she displays all that agitation of 
mind, prompted by curiosity, which the natural feelings 
of a female, who knows her own charms, testifies, on hear- 
ing that she is the theme of admiration ; and, therefore, 
with most petitionary vehemence, she desires to know 
the name of her woodland admirer : but Celia still sports 
with her agitation, and wishes to make her blush ; which 



AS YOU LIKE IT. 73 

playful maliciousness being; perceived by Rosalind, she 
tells her, the only means to effect her purpose, is to name 
her admirer; which will have such influence as to stimu- 
late her blood, and cause a sensation in her heart, that 
must mantle her face with blushes : therefore, she says, — 
Goad my complexion ! 

Sound but the name! you stimulate my blood, and 
rouse it from my heart to strike upon my face; for, 
though "i" am caparisoned like a man, dost thou think 
/ have a doublet and hose in my disposition, that can veil 
my blushes, as they do my sex. 

Thus, by the aid of the verb, the phrase gains cor- 
responding uniformity ; but which, in its present state, 
as Mr. Theobald justly observes, cannot be reconciled to 
common sense. 

This word is doubly applicable, for, if struck with a 
goad on the face, the part must become inflamed and red. 



Scene II.— page 119. 

Touchstone. Not — sweet Oliver, 
brave Oliver, 
Leave me not behind thee; 
But — wind away, 
Begone, I say. 
I will not to wedding wi'thee. 



Wind away, is a low phrase, and frequently used by 
the knowing ones, among the vulgar : it means, set off 
with yourself; or, be off with the wind. 



Scene V. — page 126. 

Silvius. The common executioner, 

Whose heart the accustom'd sight of death makes hard, 
Falls not the axe upon the humbled neck, 
But first begs pardon; Will you sterner be 
Than he that dies and lives by bloody drops? 

The obscurity of this passage seems to arise from 
its being elliptically expressed. Than he that dies and 
lines by bloody drops, allude, in my opinion, to both 



74 AS YOU LIKE I.T. 

the criminal and executioner. The executioner t)egs 
pardon, before the criminal humbles his neck to receive 
the fatal axe: "Will you sterner be," says Silvius, 
than the unfortunate criminal, who forgives the hand 
that deprives him of life ? Or, will you sterner be than 
the executioner, whose heart, incased in adamant, lets 
not pity enter ; and yet, asks pardon for being the 
executioner of the law. Thus then, the question is, 
Will you sterner be than he that dies, and he that lives by 
bloody drops ? The one dies by the loss of blood; the 
other lives by the blood he spills. 



ACT IV. 
Scene III. — -page 150. 



Rosalind. How say you now? Is it not past two o'clock? and 
here much Orlando ! 

Some of the modern Editors read: I wonder much 
Orlando is not here : a stretch of power to correct a pas- 
sage, which overcomes ail that scrupulous delicacy of 
which Dr. Farmer, Mr. Steevens, and Mr. Malone, so 
particularly boast. In fact, when such unlimited altera- 
tion is sanctioned, I should not wonder if entire passages 
were expunged, and others substituted, to gratify mere 
opinion and false judgment. 

Rosalind, confident of Orlando's punctuality, after 
sighing away two hours, flies on the wings of impatience 
to meet her lover. Fancy had pictured in her mind 
equal impatience on the part of Orlando ; and, from the 
lesson she had taught him, Rosalind indulged the hope 
of meeting him ; while with some fond exclamation, as 
Oh, my gentle Rosalind, you are punctual! he announced 
his happiness. But, how disappointed ! Arrived at the 
place of assignation, she looks about :-— she doubts her 



AS YOU LIKE IT. 75 

senses : — she looks again ; and wofully convinced of her 
lover's absence, with a perturbed heart, she exclaims — 

How say you now? Is it not past two o'clock? and here, — mute 
is Orlando. 

Thus, the passage is clearly understood. The te in 
mute being badly formed, the compositor made much of 
it ; he might as well have made more. 



ACT V. 



Scene IV. — page Yi^. 
Orlando. As those that fear they hope, and know they fear, 

A greater variety of attempts have been made to 

correct this verse, than any other that I have noticed in 

our Author's plays. I could have wished to lay the 

respective suggestions before my readers, but must refer 

them to Johnson and Steevens's edition, 1813; and, at 

once, submit my correction to their judgment. I read : 

I sometimes do believe, and sometimes do not ; 
As those that fear the hope, and know the fear. 

He sometimes believes, that what has been promised 
by Rosalind will be accomplished ; but, at other times, 
considering such promises as illusory, he believes the 
promised object unattainable : thus, finding his mind 
agitated between hope and fear, he considers himself — 
like those who fear the extreme of joy in obtaining a 
perfect accomplishment of their most anxious wishes ; 
and yet, know, i. e. feel, at the same time, the pangs 
that must result from disappointment. 

Hope, has been made a verb, and the plural pronoun 
they, made to precede it : instead of which, hope should 
have been made a substantive, and preceded by the 
definite article. What led to this error, in both instances, 
was, that they and the sound exactly alike. 



m$ mtll tljat IStttrjs m&L 



ACT I. 



Scene I. — page 213. 
Helena. Ay. You have some stain of soldier in you ; 

It is not the dress of Parolles occasions this observa- 
tion; Helena knows him to be a soldier, by profession; 
and, in a subsequent part of this scene, styles him Cap- 
tain. Her meaning is, — I know you to be a soldier by 
profession, but have strong doubts of your courage. See 
the character she has just drawn of Parolles : — 

" And yet I know him a notorious liar, 
Think him a great way fool, solely a coward." 



Scene I. — page 216. 

Parolles. within ten years it will make itself tew, 

The form which this passage retains at present, is not 
sufficiently subtle for that physical scrutiny which Shak- 
speare intended. It becomes a clear principle that, within 
ten years, Helena may have ten children; but what is to 
warrant the positive assertion of Parolles, that, within 
ten years, it will make itself ten, i. e. ten girls? For we 
are not to understand that he alludes, in any manner, to 
boys. In the former passage, to which Mr. Malone 
refers, possibility takes an active part: " Virginity, by 
being once lost, may be ten times found;" i. e. one 
woman may give birth to ten females, and each provs 



ALL'S WELL THAT ENDS WELL. %% 

equally fecund ; but none of them can be styled virgins, 
until they arrive at that stage of life, called puberty. 
These considerations influence me to vindicate the text 
of the old copy, which reads, — 

"within ten years it will make itself two" 

There is a material difference between the conditional 
may, and positive will. Here Parolles makes the dis- 
tinction : " Virginity, by being once lost, may be ten 
times found ;" i. e. it may produce ten virgins : — but he 
gives no stated period for such a mark of fecundity. 
Now, when he says, Within ten years it will make itself 
two, — he considers, that he comes within the limits of 
possibility. What is termed a virgin state, is puberty 
imdefiled. The first age is called infancy; and all chil- 
dren of nine years of age, are but rising from a state of 
infancy. If, then, Helena should bear ten children in ten 
years, all females, one only could approach virginity ; 
for, according to the order of nature, it would be but 
nine years and three months old. These premises con- 
sidered, reason dictates that the lascivious Parolles cal- 
culates, that the virgin state, or puberty, commences at 
this green age ; and, to prevent virginity from being 
subject to the evils he has particularized, would have it 
deflowered at that early dawn, when female susceptibi- 
lity may give way to the passion of love. Thus, Helena, 
having in her child a second self her virginity makes itself 
two, and the principle itself not much the worse; for, within 
the ten years, Helena has been a virgin herself, as is her 
daughter at nine years and three months old. 

In my opinion, the old copy is the original reading. 



Scene I. — page 217. 

Helena. JVot my virginity yet. 

Were we not convinced, that Helena's principles are 
strictly pure; her giving even a reply to Parolles, after 



78 ALL'S WELL THAT ENDS WELL- 

the indelicate question : — "Will you any thing with it?" 
(alluding to her virginity) would induce us to suppose 
her of very loose morals. But, though she takes his words 
in good part, knowing his character, her answer to his 
impertinence is much stronger than the present text ex- 
hibits. The word not, I am certain, is an error; a note of 
admiration being taken by the compositor for a t, which 
error, and want of due punctuation, has destroyed the 
entire force of her reply. I read, — 

JVo ! — My virginity ! — Yet, 

There shall its master have a thousand loves, &c. 

Thus, the cold undecided reply, is changed to the bold 
and determined negative, and marked by astonishment 
at his insolence ; as also, the innate pride of virtue is 
roused; and which makes her look with scorn at him, 
when she says, "My virginity!" Then, looking into 
her heart, at the object painted there who holds her affec- 
tions, a thousand pleasing fancies sport on her imagina- 
tion, which, in the chaste endearments of connubial bliss, 
she expects will be realised. 



Scene I. — page 217. 
Helena. There shall your master have a thousand loves, 

In supporting the corrections of the preceding he- 
mistic, I was compelled to call in the assistance of the 
verse now under investigation ; I also corrected it, and 
shall now assign my reasons. 

Parolles is not the servant of Bertram, but an officer, 
holding the rank of Captain, and deemed, by the Coun- 
tess, a suitable companion to accompany her son to court. 
To prove this is necessary, not only in justification of 
correcting this verse, but also towards explaining the 
fourth, which has been totally misunderstood by the 
Commentators. 



ALL'S WELL THAT ENDS WELL. 79 

In Act II. sc. i. we find Parolles at court, in the pre- 
sence of the King, and conversing familiarly with the 
nobles; a situation, which no partiality for a servant 
could admit When the two lords take leave of Ber- 
tram, they do not forget Parolles. The Jirst lord says 
to him, '•'Farewell, Captain" The second lord — "We 
shall, noble Captain ." Again, Act IV. sc. ii. Bertram 
salutes Parolles — Good -morrow, noble Captain. And 
again, the two Lords : the first — God bless you, Captain 
Parolles :. the second — God save you, Captain Parolles. 

Presuming these instances sufficient to establish the 
rank of Parolles, can we for a moment suppose that 
Helena would call Bertram his master ? But more, that 
Helena, who conceals her passion for Bertram with the 
most scrupulous delicacy, would say, 

There shall your master have a thousand loves. 
Surely not; so open a violation of modesty could never 
issue from her lips ; for, had Parolles been the servant 
of Bertram, as the words, your master , imply, he must 
naturally conclude they were designed for him to convey 
to his master ; and this could not, in any manner, cor- 
respond with the wishes of Helena, for she is scrupulous- 
ly cautious in retaining the secret of her passion in her 
own bosom. 

I have, therefore, no hesitation in declaring the text 
corrupt ; and that, for your master, we should read, its 
master : meaning, him on whom her affections are fixed, 
and who only, shall become master of her virginity. 



Scene I. — page 218. 

Helena. A mother, and a mistress, and a friend, 
A phoenix, captain, and an enemy, 
A guide, a goddess, and a sovereign, 
A counsellor, a traitress, and a dear; 
His humble ambition, proud humility, 
His jarring concord, and his discord dulcet. 
His faith, his sweet disaster; with a world 
Of pretty, fond, adoptious Christendoms, 
That blinking Cupid gossips. 



80 ALLS WELL THAT ENDS WELL. 

Here my predecessors have considered Captain to 
mean one of the thousand loves, which Helena promises to 
the master of her virginity. Instead of which, Captain 
is used in the vocative case, as though she said, a phoenix, 
Sir; or, a phoenix, General, &c. Moreover, let it be 
noticed, that each substantive, forming part of her 
thousand loves, has its article ; but Captain, none. 

As the entire of this speech has been condemned by 
some of our best Commentators, and called a rhapsody 
of nonsense ; it becomes a duty, in defence of the Author, 
to extract, if possible, some meaning from those endear- 
ing names, part of the thousand loves, which Helena 
promises to the master of her virginity; first observing, 
that taking the thousand loves collectively, I consider 
them to mean, — every delight a virtuous passion can 
yield, and every endearment that a wife can testify. 

A mother, and a mistress, and a friend J] — These three 
endearing appellations, being sufficiently understood, 
require no explanation. 

A phoenix.] — Most naturalists say, that this bird 
belongs to fabulous history. However, according to 
received opinion, there is but one phoenix in the world, 
and the death of the old, is the birth of the new phoenix, 
that rises in full perfection from the ashes of its mo- 
ther. As a phoenix, then, Helena will surrender herself 
to her husband, pure and unsullied, as when she came 
from her mother's womb. 

Captain.'] — This is the title by which she addresses 
Parolles, and has no connection with the thousand loves. 

And an enemy.] — As enemies, in battle, oppose each 
other, breast to breast, she will oppose her's to that of 
her husband. 



ALL'S WELL THAT ENDS WELL. 81 

A guide.] — As a guide, she will lead him in the paths 
of virtue. 

A goddess J] — As a goddess, she will preside over his 
happiness. 

A sovereign.] — She will reign the sovereign mistress 
of his affections. 

A counsellor.] — If he requires advice, she will counsel 
him for the best. 

A traitress, and a dear.] — She will inflame his love, then 
rebel against his desires ; but, called to a sense of duty, 
will prove his dear. 

His humble ambition, proud humility. ,] — Her ambition 
will be to humble herself to his wishes, and be proud in 
that humility which corresponds with her duty. 

His jarring concord.] — She will dispute with him, for 
the sake of concording afterwards in his opinion. 

His discord dulcet."] — As lovers' quarrels only tend to 
harmonize and strengthen passion, so shall their dis- 
agreements be sweetened by love. 

His faith.] — His faith shall be great in her virtue. 

His sweet disaster.] — Though the disasters of mankind 
originated in woman ; from which some illiberal minds 
say, — Where there is a wife there is a disaster ; yet, she 
will prove a sweet disaster; that is, a good wife to her 
husband. 

With a world of pretty, fond, adoptious Christendoms.] — 
An infinity of other pretty endearing names, which she 

G 



82 ALL'S WELL THAT ENDS WELL. ■ 

will adopt and christen to her own fancy. — Christendom, 
means the collective body of Christianity, and of which 
the ceremony of christening forms a part. But the word 
in the text, and which seems expressly plural, does not 
perfectly correspond with those adoptions of her imagi- 
nation : probably, Christendoms had, formerly, the same 
meaning as christenings. 



Scene I. — page 221. 

Helena. Now shall he 

I know not what he shall: — God send him well 
The court's a learning place: — and he is one — 



Flights of fancy having nearly thrown Helena off her 
guard, she breaks her sentences ; nor can she recover 
herself, until Parolles, astonished at her unconnected 
expressions, relieves her, by demanding — "What one, 
i' faith?" which is a conclusive evidence, that he is 
ignorant of the person to whom she alludes. 



Scene I.— page 222. 

Helena. So is running away, when fear proposes the safety: But 
the composition, that your valour and fear makes in 
you, is a virtue of a good wiug, and / like the wear 
well. 

No woman loves a coward : Can we then believe that 
our Author wrote — I like the wear well? I think not: 
and am certain we should read — and like to wear well. 

Old age gives to many, the virtue of prudence; so 
cowardice gives Parolles the virtue of personal safety; 
and by running away from the dangers of battle, he may 
run a long career of life. 



ALL'S WELL THAT ENDS WELL. 83 



Scene I. — page 224. 

Helena. The mightiest space in fortune, nature brings 
To join like likes, and kiss like native things. 
Impossible be strange attempts to those 
That weigh their pains in sense; and do suppose, 
What hath been cannot be : 

However elevated the one, and humble and obscure 
the other, yet, the powerful influence of nature over- 
comes that mighty space by which fortune had divided 
them, and unites them, as though originally of equal birth 
and distinction. But, bold attempts are unequal to those 
who feel too acutely, and view obstacles as insurmount- 
able ; for, notwithstanding they allow extraordinary 
events to have taken place, yet they will not believe, 
that the nature of things, or circumstances, will produce 
the like again. 



Scene II. — page 228. 

King. who were below him 

He us'd as creatures of another place; 
And bow'd his eminent top to their low ranks, 
Making them proud of his humility, 
In their poor praise he humbled : 

He maintained his dignity with becoming pride ; 
making all his inferiors know their distance; yet, his 
lofty demeanour, which struck awe, was softened by occa- 
sional condescension : thus, in bowing his eminent top to 
their low ranks; he made his inferiors more submissive 
to his will, by the small portion of praise which he be- 
stowed upon them. 

Weak, indeed, must those inferiors have imagined the 
father of Bertram, had they approached him with the 
fawning servility of their poor praise ; and very far must 
he have been from the dignified character portrayed by 

G 2 



84 ALL'S WELL THAT ENDS WELL. 

the King, had he listened to their insinuative adulation. 
The antithesis formed by proud and humbled, reflect on 
those inferiors, whom his humility rendered at once both 
proud and humble. 

Bishop Warburton makes the humility of Bertram's 
father stoop so low, as to humble his humility I 



Scene III. — page 241. 

Clown. an we might have a good woman born, but every 

blazing star. 

How can a woman be born ? A female, when introduced 

into life, is an infant: — the reading is highly injudious ; 

and the correction seems to have been made, without 

reflecting on the incongruity which it produced. The 

old copy reads : — a but o'er every blazing star." In my 

opinion, from the word on being badly formed, the 

compositor mistook it for ore. I read: 

an we might have a good woman, but on every blazing 

star, or at an earthquake, &c. 

Meaning : If on the appearance of a blazing star, or at the 
calamitous event of an earthquake, a good woman were 
in existence, it would prove a matter of equal astonish- 
ment. 



Scene II. — page 241. 

Clown. Though honesty be no puritan, yet it will do no hurt; 
it will wear the surplice of humility over the black 
gown of a big heart. 

This passage has occasioned much discussion ; and all 
for want of paying attention to the Clown's dress. Fools 
and clowns, retained in noble families, were accustomed 
to wear a loose fantastical dress with long sleeves, over 
which was thrown a circular cape, made of white linen, 
which covered the breast and shoulders. Now, be it 
remembered, that the family and servants of the Countess 



ALLS WELL THAT ENDS WELL. 85 

appear in mourning; and of course, the Clown's habit, 
though of black colour, lost nothing of its fashion ; add 
to this, the circular cape, which in his fancy, bears con- 
formity with that part of the ecclesiastical appendage, 
called a surplice, and you find in his dress, the surplice 
of humility over the black gown, which covers a big heart. 
This light thrown on the passage, makes the Clown's 
meaning obvious. — Though honesty be no puritan, fyc. 
meaning : Though my honesty has not that conspicuous 
appearance which puritanical principles display ; yet I will 
do no hurt : I will wear the surplice of humility, (his fool's 
cape) which policy, not principle, compels me to do, over 
the black gown, (his loose gown of black colour) which 
covers a big heart: i. e. a proud heart; but which is 
obliged to humble itself, or want support. 

It is, however, very clear, that he satirizes the pre- 
tended humility of the puritans, who reprobated the 
ecclesiastical garments. The Author's text is evidently 
correct, and requires not the emendation proposed by 
Mr. Tyrwhitt. 

In the representation of this play, the Clown's dress 
should be regarded. For want of due attention to the 
dress of Issabella, in Measure for Measure, Act II. 
sc. iv. The passage has been equally misunderstood. 
See my notes on that play, p. 42. 



Scene III. — page 249. 

Helena. I know I love in vain, strive against hope; 
Yet, in this captious and intenible sieve, 
I still pour in the waters of ray love, 
And lack not to lose still. 

This unintelligible passage, and which has been almost 
despairingly relinquished by my predecessors, may, I 
think, be made to recover its pristine beauty. 



86 ALL'S WELL THAT ENDS WELL. 

Dr. Johnson observes, — " The word captious, I never 
found in this sense : yet I cannot tell what to substitute, 
unless carious , for rotten." In what sense my predecessor 
understood the passage, I know not : but, from my con- 
ception of it, the word, carious, would prove the most 
impotent of any in his Dictionary. 

Far be it from me, by this observation, to dare a 
reflection on the judgment of so great and so good a 
man ! — No : but, as he has not given any explication of 
the passage, I cannot possibly comprehend his idea ; nor 
can I see how the word, carious, if substituted, could 
afford aid towards elucidation. 

Few passages in these plays are more difficult to ex- 
plain, than this : for, we have not only to develop the 
meaning of Helena's words, but also to hold in imagi- 
nary view her attitude and actions. I read : 

I know I love in vain, strive against hope ; 
Yet, in this copious and intenible sieve, 
I still pour in the waters of my love, 
And lack not to lose still. 

i. e. I know I love in vain : I strive to obtain a return 
of my passion, but all my endeavours are fruitless. 

Here it is necessary to hold Helena in view: — Her 
words call the action of her hand to her heart. " Yet, in 
this copious and intenible sieve," (her full heart, from 
which the spring of nature flows, — ever running out, yet 
ever full) I still pour in the waters of my love, (her 
increase of passion, which, however overflowing with 
love her heart may be, it still receives. And lack not to 
lose still : i. e. nor do I want it to diminish^ but still to 
increase. 



Scene III. — page 250. 

Countess. Had you not lately an intent, speak truli/^ 

To go to Paris ? 
Helena. Madam, I had. 
Countess. Wherefore? tell true. 
Helena. I will tell truth; by grace itself, I swear 



4 

ALLS WELL THAT ENDS WELL. 87 

Mr. Steevens thinks the words, tell true, should be ex- 
punged, the repetition being superfluous. But, surely, 
the positive reply of Helena, J will tell trite, must over- 
rule his supposition. 



ACT II. 

Scene I. — page %b3. 



Ki\g. Farewell, young lords, these warlike principles 

Do not throw from you: — and you, my lord, farewell: — 
Share the advice betwixt you; if both gain all, 
The gift doth stretch itself as 'tis receiv'd, 
And is enough for both. 

Had attention been paid to the nobleman's reply, the 
error in this passage would have been more easily 
discovered ; but, as the speech is more particularly ad- 
dressed to the two lords, the gift has been supposed 
designed for them ; whereas, they are the gift which 
the king sends to the Duke of Tuscany. The latter 
copies read: — " If both again." 

I think it requires no argument to convince, that our 

Author wrote : — 

Farewell, young lords, these warlike principles 

Do not throw from you : — and you, my lord, farewell : — 

Share the advice betwixt you; if back again, 

The gift doth stretch itself as 'tis receiv'd, 

And is enough for both. 

To which, the first lord replies — 



It is our hope, sir, 

After well-enter' d soldiers, to return 
And find your grace in health. 

Though convinced the sense is sufficiently clear, I 
shall give its meaning : — The King has been advising 
the two young noblemen how to conduct themselves, 
and here bids them farewell ; observing, that they are 
equally to participate in his advice. Now, says the 



88 ALL'S WELL THAT ENDS WELL. 

King, you are a gift, which I send to the Duke of Tus- 
cany ; conduct yourselves as valiant soldiers ; and, if 
you return " back again, the gift doth stretch itself 
where His received, and is enough for both:" (meaning, 
the Duke of Tuscany and himself;) for, should they 
return, after fulfilling their duty, the gift is still as 
highly prized by the Duke of Tuscany, as though 
they continued to remain at his court ; and, their return 
stretches the gift from Tuscany to Paris. See the first 
lord's reply. 

The word back, was taken for both, either by the 
transcriber or compositor, who thought it meant the 
two noblemen. 



Scene I. — page 258. 

Farolles. they wear themselves in the cap of the time, 

there, do muster true gait, eat, speak, and move, 
under the influence of the most received star. 

This passage, considered very obscure, is rendered 
perfectly familiar by a most trifling alteration : for there, 
do, read — they do muster true gait, &c. The meaning 
is obvious : — They imitate the received star, or leader 
of fashion, both in his dress and actions. The tran- 
scriber turned the down stroke of the y too short, 
which left the appearance of re : thus, I imagine, the 
error took place. 



Scene I. — page 265. 

Helena. I am not an impostor, that proclaim 
Myself against the level of mine aim. 

I am not an impostor, to pretend greater things than 
lie within the compass of human power ; and that which 
I propose I will accomplish. 



ALL'S WELL THAT ENDS WELL. 89 



Scene I. — page 268. 

King. Youth, beauty, wisdom, courage, virtue, all 
That happiness and prime can happy call : 

We should read — " Happiness in prime ;" meaning, 
youthful happiness. Prime was substituted for youth, 
by the Author, in order to avoid tautology ; youth 
having been introduced at the commencement of the 
antecedent verse. Dr. Johnson's interpretation of prime 
is perfectly correct. 



ACT III. 



Scene III. — page 278. 
Lafeu. Why your dolphin is not lustier. 

Lustier is certainly English, and sufficiently expres- 
sive to afford a sort of meaning ; but the Commentators 
have left it a matter undecided^ — whether Lafeu means 
the Dauphin, (a title given to the eldest son of the 
French king ;) or Dolphin, (a fish.) But while argu- 
ments, in support of opinion on one side, and answers 
to confute on the other, were increasing notes, the cor- 
rupt word remained unnoticed. 

When the King, after being cured, enters with Helena, 
Parolles says to Lafeu, " Here comes the King." — To 
which Lafeu adds, " Lu stick, as the Dutchman says." — 
Now, the German word, lustig, and the Teutonic, lus- 
tick, are the same, and mean playful, or sportive ; the 
comparative of which adjective is — lustiger, meaning, 
more playful. Thus, then, Lafeu sports his German on 
the occasion, — 

Why your dolphin is not lustiger. 



90 ALL'S WELL THAT ENDS WELL. 

Meaning : that the King was now so perfectly recovered, 
he had become as sportive and playful as a dolphin ; 
for, of all fishes, the dolphin is most given to sport. 

To compare the King, in stature or corpulency, to a 
small fish, is ridiculous ; and we know not whether his 
son be either lusty or playful. 

In Antony and Cleopatra, Act V. sc. ii. We 
find the sportive and wanton manners of Antony, thus 
compared to a dolphin : 



His delights 



Were dolphin-like ; they shew'd his back above 
The element they liv'd in." 

Thus, the addition of a g, settles this strongly con- 
troverted point. The manner in which the error took 
place is obvious. — The compositor, or, perhaps, the 
transcriber, being unacquainted with the German word, 
lustiger, concluded it should be lustier ; and, therefore, 
omitted the g", not doubting himself perfectly correct. 



Scene III. — page 285. 

King. good alone 

Is good, without a name, vileness is so : 

The punctuation recommended by Mr. M. Mason 
should be adopted : 

good alone 



Is good ; — without a name, vileness is so : 

Goodness, is ever good: in the eyes of mankind it 
requires no other name to strengthen its force. Vile- 
ness, would be ever vile, did not rank, power, and for- 
tune screen it from opprobrium, and give it qualities to 
which it can never be justly entitled. This explication is, 
I think, strengthened by the subsequent passage : 

" The property by what it is should go, 
Not by the title." 



ALL'S WELL THAT ENDS WELL. 91 



Scene III.— page 288. 

King. Obey our will, which travails in thy good : 
Believe not thy disdain, but presently 
Do thine own fortunes that obedient right, 
Which both thy duty owes, and our power claims ; 
Or I will throw thee from my care for ever, 
Into the staggers, B$c. 

Bertram is at present on the high pillar of greatness, 
from whence it is in the King's power to throw him 
down. If, then, he disobeys the King's orders, his 
descent will be so rapid, that giddiness shall seize him, 
and, staggering like a drunken man, unable to support 
himself, great must be his fall. 



Scene V. — page 303. 

Lafeu. 1 have spoken better of you than you have or will 

deserve at my hand. 

His meaning is sufficiently clear. — I have spoken better 
of you than you have deserved, or will deserve at my hand. 

He thinks him incorrigible, and that his future actions 
will be such as not to merit praise. 



ACT III. 

Scene I. — jjage 306. 

Secosd Lord. The reasons of our state I cannot yield, 
But like a common and an outward man, 
That the great figure of a council frames 
By self -unable motion : therefore dare not 
Say what I think of it ; since I have found 
Myself in my uncertain grounds to fail 
As often as I guess'd. 

There is scarcely a passage in these plays, that shows 
to what extent the sense of our Author has been per- 



92 ALLS WELL THAT ENDS WELL. 

verted by false punctuation, more than the present; and, 
indeed, I am not a little amazed that the two learned 
Commentators, who have considered notion as the 
original word, and even recommended it in place of 
motion, did not perceive from whence the error arose; 
for, either motion or notion, in the present state of the 
passage, is equally obscure. 

I take up the Author's words, where he speaks of the 
great figure of a council. In my opinion, the great figure 
of a council, means — the grand machine, t. e, the collective 
body of the council, that gives movement to the many 
figures of a state, and by whose operations the govern- 
ment of a realm is duly maintained, according to the 
chartered covenant between the king and the people. 
By the wisdom of this body, armies are raised ; the 
kingdom defended; the laws maintained; justice ad- 
ministered ; and the rich and poor equally protected from 
fraud and violence. How, then, can this great Jigure of 
a council be termed self unable motion, or notion, without 
abstracting from it the power of thought, movement, and 
opinion? for, certainly, the text precludes it from all 
these powers. But see how clearly we gain the Author's 
meaning, by the transposition of a colon, and the intro- 
duction of two commas: 

The reasons of our state I cannot yield, 
But like a common and an outward man, 
That the great figure of a council frames: — 
By self-unable notion, therefore, dare not 
Say what I think of it ; since I have found 
Myself in my uncertain grounds to fail 
As often as I guess'd. 

Thus, the nobleman, from his inexperience, acknow- 
ledges his incapacity of judging the principles which 
guide the actions of a state ; he, considering himself no 
better informed in state affairs, than a common and out- 
ward man, that the great figure of a council frames ; and, 
therefore, dares not hazard an opinion : for, whenever 
he formed an opinion of its principles, he found his 
judgment erroneous. 



ALL'S WELL THAT ENDS WELL. 93 

Scene II. — page 308. 

Clown. Why, he will look upon his boot, and sing; mend the 
ruff, and sing ; ask questions, and sing ; pick his teeth, 
and sing : I know a man that had this trick of melan- 
choly, sold a goodly manor for a song. 

Shakspeare's Clowns and Jesters have, in most in- 
stances, a double meaning in their expressions ; that is, a 
covert allusion is equally obvious, as the literal meaning-. 
In the present passage we have one so closely veiled, 
that the Editor of the third folio, and all successive 
Editors, have made the man, who had this trick of melan- 
choly , turn idiot, and sell his goodly manor for a song! 
whereas, the poor fellow only held a goodly manor as the 
burden, or chorus of his song*, when in his fits of melan- 
choly. See the old reading : 

I know a man that had this trick of melancholy, hold a goodly 
manor for a song. 

The construction which the Editor of the third folio 
put on this passage was, that the man who had this trick 
of melancholy, obtained, and held, a goodly manor in 
possession for a song ; and as he thought the bargain too 
great, made him sell it on the same terms ! Mr. Steevens 
was so far deceived, as to give sanction to this emendation. 
I am, however, bold enough to say, that hold is the Au- 
thor's word, and should be restored. 



Scene II. — page 309. 

Countess. What have we here ? 

Clown. E'en that you have there. 

Countess (reads.) I have sent you a daughter-in-law. 

Mr. Theobald has been too hasty in his correction. 
The old copy reads : 

Countess. What have we here ? 

Clown. In th at y o u ha ve there . 

Countess, (reads.) I have sent you a daughter-in-law. 



94 ALLS WELL THAT ENDS WELL. 

The humour depends on the reading : the Countess 
should follow, after the Clown's speech, without a pause, 
which produces this effect : — In that you have there, I 
have sent you a daughter-in-law. 



Scene II. — page 311. 

Countess. If thou engrossest all the griefs are thine, 

Thou robb'st me of a moiety : he was my son ; 

How can Helena rob the Countess of a moiety of the 
grief, at the same time that she retains the entire ? and 
yet, from the present text, neither this sense is obtained, 
nor does the Countess seem anxious to participate in her 
griefs. If a meaning is to be obtained by suffering the 
word — are, to remain, the passage will require additional 
words; and we should read, — If thou engrossest all, the 
griefs are thine; but then, thou robbest me of a moiety. 
Thus, the Countess lets Helena retain all the griefs, 
and surrenders her share very calmly. 

In some of these plays, not only words, but sentences 

have been changed, to gratify the opinion of celebrity; 

and here, — where the change of a single monosyllable 

gives, not only perfectly good sense, but appears also to 

have been the original, some of our late Commentators 

have rejected it. Mr. Mason proposes to read: 

If thou engrossest all the griefs as thine, 
Thou robb'st me of a moiety : he was my son ; 

No sense can speak clearer, and the most obstinate 
prejudice should give it cheerful concurrence. Thus 
corrected, the sensibility, fortitude, and friendship, of the 
Countess are strongly displayed : she beholds Helena, 
whom she prizes as her child, overwhelmed with grief: 
she wishes to share in that grief, and claims, as the mother 
of Bertram, her moiety; having, as she conceives, as 
much cause for affliction in her son's misconduct, as 
Helena has in the neglect of her husband. 



ALL'S WELL THAT ENDS WELL. 95 



Scene II. — page 313. 

Helena. and is it I 

That drive thee from the sportive court, where thou 

Wast shot at with fair eyes, to be the mark 

Of smoky muskets ? — O you leaden messengers, 

That ride upon the violent speed of fire, 

Fly with false aim ; move the still-piecing air, 

That sings with piercing, do not touch my lord ! 

There is no passage in our Author's works has occa- 
sioned a greater diversity of opinion than this. The 
corrupt phrase — still-piecing, has obtained many forced 
elucidations; but it is not merely piecing, or piercing, 
as some Editors read, that is corrupt, but also the word 
move. 

It appears very obvious to me, that our Author de- 
signed an antithesis in this passage ; but which, from 
a corrupt reading, has been totally obscured : however, 
in restoring the text to its original beauty, the veil will 
be removed. I read, as I am confident our Author wrote : 

you leaden messengers, 



That ride upon the violent speed of fire, 
Fly with false aim ; mow the still-pacing air, 
That sings with piercing, do not touch my lord. 

Thus, violent speed is opposed to still-pacing. The 
word, still, is doubly appropriate ; for, the air is still 
(constantly) pacing ; i. e. ever moving : still, also means, 
silent : so, that Helena invokes the leaden messengers, that 
ride upon the violent speed of fire, to mow the silent- 
moving air that sings with piercing : — The air is silent in 
its movement, but when pierced, it sings. The velocity 
of a bullet's speed, is compared to a scythe, that cuts 
its sweep of grass. 

Though I consider it almost unnecessary to make far- 
ther observations on the present text, the nonsense of 
which bids defiance to elucidation ; yet, I cannot avoid de- 
manding, — Why should Helena invoke the leaden mes- 
sengers to move the air ? What figure can this phrase 



96 ALL'S WELL THAT ENDS WELL. 

produce ?■ — Was the air ever known to be immoveable ? 
Is it not still-pacing ; still in movement, like the waters 
of the ocean ? An element cannot be confined ; nor is 
it in the order of nature to divide the atmospheric air, 
that it should be still-piecing, as in the present text, and 
attempted to be elucidated by our Commentators. In 
reading an account of a battle, do we not frequently meet 
this phrase : — whole ranks were mowed down by the fire 
of the enemy ? 

The words, sings with piercing, also convey a figure, 
perhaps, hitherto unnoticed. To sing, is to rejoice. 
The air sings, when cut through with velocity; but 
should the leaden messengers, which cut the air, touch 
her lord, they must produce a contrary effect — sorrow. 
Therefore, she invokes the leaden messengers to pierce 
that only, which sings with piercing. 

The clouds, like the air, keep ever pacing: at times 
rapid, at other times slow and heavy ; and this our Au- 
thor notices, in Romeo and Juliet, Act II, sc. ii. 

" O speak again, bright angel ! for thou art 
As glorious to this night, being o'er my head, 
As is a winged messenger of heaven 
Unto the white-upturn'd wond'ring eyes 
Of mortals, that tall back to gaze on him, 
W r hen he bestrides the lazy-pacing clouds, 
And sails upon the bosom of the air." 



Scene V. — page 322. 

Diana. A right good creature : wheresoe'er she is, 
Her heart weighs sadly: 

That the old copy, which reads, — " I write good crea- 
ture," is incorrect, cannot be doubted; and that the cause 
of the same, is precisely as stated by Mr. Malone, we 
cannot doubt ; but, to say, with the advantage of this 
discovery, that Mr. Malone's correction is right, I can- 
not; although, for the emendation, he makes himself 
accountable. 



ALL'S WELL THAT ENDS WELL. 97 

What character has been given of Helena to the old 
Widow, to warrant the high eulogium which the text 
displays ? Helena, when speaking of herself, claims no 
merit ; she modestly observes, that all her deservings is 
but a reserved honesty : — why, then, should the old 
Widow, at once, pronounce her — " a right good crea- 
ture?" — But, look to Diana's observation: — 

" 'Tis a hard bondage, to become the wife 
Of a detesting lord." 

This is the language of nature ; and which, springing 
from a female breast, displays strong sympathy : it is 
not lost on the mother; she approves the observation 
of Diana, and also sympathizes in the afflictions of 
Helena : not as we have it either in the old copy, or pre- 
sent text, but as the Author wrote : 

Ay, right ! good creature: wheresoe'er she is, 
Her heart wears sadly. 

Thus, the mother approves the daughter's sentiments, 
by telling her, that she has expressed herself with be- 
coming feeling for the misfortune under which the good 
creature labours, of whom they have been speaking : — 
The old Widow would, most probably, have said, poor 
creature, but, for that necessary respect due to a lady of 
distinction. 



Scene VI. — page Sol. 

First Lord. I must go look my twigs ; he shall be caught. 

" I must go look my twigs," — and when he has found 
them, I would be glad to know what he intends doing 
with them. The passage is corrupt, our Author wrote : 

I must go lack my twigs ; he shall be caught. 

As birds are caught by twigs, lackered with bird-lime, 
whatever plan he intends to adopt, shall have as good 
an effect. 

H 



98 ALL'S WELL THAT ENDS WELL. 

Look and lack, in writing, if not clearly written, might 
very easily be mistaken, the one for the other. 



ACT IV. 

Scene 11.— page 341. 

Bertram. No more of that! 

I pry'thee, do not strive against my vows : 

I was compell'd to her ; but I love thee 

By love"s own sweet constraint, and will for ever 

Do thee all rights of service. 

Bertram alludes to the vows of love which he had 
made to Diana, at a former meeting. My predecessors 
erroneously imagine, that Bertram means his nuptial 
vows. 



Scene II. — page 341. 

Diana. 'Tis not the many oaths, that make the truth ; 
But the plain single vow, that is vow'd true. 
What is not holy, that we swear not by, 
But take the Highest to witness : Then, pray you, tell me, 
If I should swear by Jove's great attributes, 
I lov'd you dearly, would you believe my oaths, 
When I did love you ill? this has no holding, 
To swear by him whom I protest to love, 
That I will work against him : 

This is one of the many passages that received early 
mutilation ; and which the most skilful dramatic archi- 
tects have not been able to repair ; and yet, the only- 
error in the entire speech, is the transposition of a line ; 
a very common error with compositors, in what they 
term, making up the matter. We should read : 

'Tis not the many oaths, that make the truth; 

But the plain single vow, that is vow'd true. 

But take the Highest to witness: Then, pray you, tell me, 

What is not holy that we swear not by? 

Though this stumbling block is removed, the passage 
may require elucidation. We shall, therefore, suppose, 



ALL'S WELL THAT ENDS WELL. 99 

that Diana says, — Confidence is not to be placed in that 
person who is prodigal of oaths : One plain single vow, 
when vowed with sincerity, establishes truth. If we 
call Omnipotence to witness our oath, all that we swear 
by, must be holy. Now, should I swear by Jove's great 
attributes, that I loved you dearly ; would you believe 
me, well knowing, that I intended your destruction ? 
Thus truth, that sacred link of human confidence, being 
broke by me, my oath is not to be credited, when I 
swear by Him whom I protest to love, and not testify 
that love by sincerity. To hold an oath sacred, is not 
to violate it ; and this non-violation proceeds from the 
love and awe in which we hold the Deity, by whom we 
swear. If, then, we should swear by the Omnipotent 
power, whom we profess to love, we display that love no 
longer than while we hold sacred that oath ; and if we 
swear, being pre-determined to break our oath, we love 
him not at all. — Thus, Diana draws her conclusion; 
that, as Bertram, by his oaths, meditates her destruction, 
he cannot love her. 



Scene II.— page 343. 

Diana. I see, that men make hopes, in such affairs, 

That well forsake ourselves. Give me that ring. 

Here, it becomes necessary to insert the reading of 
the four folio editions : 

I see, that men make ropes in such a scarre, 
That we forsake ourselves. 

A scarre, is a rugged cliff, or promontory, washed 
either by rivers or the sea. Diana, therefore, makes 
her imagery truly frightful, to show how far human 
perseverance will extend, in order to overcome apparent 
impossibilities, that the object of their desires may be 
achieved. Thus, then, she compares such a person to one, 
who, notwithstanding the highly alarming danger, will 

H 2 



100 ALL'S WELL THAT ENDS WELL. 

make a rope upon the summit of a scarre, though, in his 
retrogressive motion, (the act of making a rope, obliging- 
him to step backwards,) each step may hurl him to 
destruction. 

Shuddering fancy cannot draw a more terrific picture 
of danger ; nor can the influence of any passion force 
the possibility of human industry to attempt a more 
hazardous undertaking. 

For irij we should read, on ; this is merely a misprint : 
the i and o compartments being next each other, an i 
dropped into the o box, and the compositor perceived 
not his error, as it formed a word : from the same cause, 
it also escaped the notice of the corrector. 



Scene III.— page 348. 

First Lord. Is it not meant damnable in us, to be trumpeters 
of our unlawful intents ? 

In my opinion, a t has been composed instead of a 
colon : we should read — 

Is it not mean: — damnable in us, to be trumpeters of our unlaw- 
ful intents? 

As though he said — Is it not mean : nay, damnable 
in us to be trumpeters of our unlawful intentions ? 



Scene III. — page 358. 

First Lord. Nay, look not so upon me; we shall ear of your 
Lordship anon. 

Modern printers can make blunders as well as those 
of former times : such a reading as ear, for hear — would 
have afforded food for strong controversy. We should 
read, hear of your lordship anon. 

This is an error in the last edition of Shakspeare, 
edited by Mr. Read. 



ALL'S WELL THAT ENDS WELL. 101 



Scene III.— page 560. 

Inter p. Dian,— The Count's a fool, and full of gold, 

When he swears oalhs, bid him drop gold, and take it ; 

After he scores, he never pays the score: 

Half -won, is match well made: match, and well make it ; 

He ne'er pays after debts, take it before; 

And say, a soldier, Dian, told thee this, 

Men are to mell with, boys are not to kiss : 

For count of this, the count's a fool, I know it, 

Who pays before, but not when he does owe it. 

The two last couplets being metrical, the former must 
have been so originally. Dr. Johnson says, — " there 
is apparently aline lost:" — I, however, think the con- 
trary ; but there is clearly a line transposed ; and, ap- 
parently, three words deficient in the first verse. I 
submit the following reading, as an attempt to bring 
order out of confusion : 

Dian, 

The Count's a fool, and full of gold, / speak it, 
When he swears oaths, hid him drop gold, and take it; 
Half-won, is match half-made ; match well, and make it, 
He ne'er pays after debts, take it before; 
After he scores, he never pays the score : 

Mr. M. Mason says, "A match well made, is a match 
half- won." But, surely, in the language of the turf, a 
match well made, is an equal match; and, in a match of 
love, — that perfect agreement and good understanding 
between the party, which only requires the seal of com- 
pletion. The proviso, that half the sum be paid in 
advance, as interpreted by Mr. Henly, is, in direct 
opposition to the caution given by Parolles, to Dian ; 
for, as he says, Bertram never pays after he scores; were 
she to propose her favours at four hundred pounds, and 
receive but two, the other half must be nominal. 

According to the above regulation of the passage, the 
sense is not only within the compass of understanding ; 
but, as I think, obviously clear to unlettered sense : it 
now bears this illustration : When the Count swears 
that he loves you, demand a pecuniary proof of his 



102 ALL'S WELL THAT ENDS WELL. 

sincerity: whatever sum you may demand, and which 
he, no doubt, will promise to pay you; insist on half 
of it in hand, which wins him half over to your pro- 
positions ; but, though you have gained this, still per- 
severe, nor let him take possession of your charms, until 
the match be perfected to your wishes; for, after he 
scores^ he never pays the score. 



Scene III. — page 362. 

Parolles. let me live, sir, in a dungeon, 

I'the stocks, or any where, so I may live. 

Equally abject were the words of the great Mecenas : 
He was satisfied to be infirm, deformed ; all his members 
to be unsound ; to be tormented with the gout, in both 
hands and feet; to suffer the most rigorous torments; 
and, that grief should perpetually assail him, provided 
he could preserve life. 



Scene IV. — page 368. 

Helena. Yet, I pray you, 

But with the word, the time will bring on Summer, 
When briers shall have leaves as well as thorns, 
And he as sweet as sharp. 

This is corrupt : — Helena, in her preceding speech, 

says — 

" You, Diana, 



Under my poor instructions yet must suffer 
Something in my behalf." 



To which Diana replies :- 



I am yours, 



Upon your will to suffer" 
Then, Helena, as in the present speech : but corrected : 



yet, I play you 



But with the word: the time will bring on Summer, 
When briers shall have leaves as well as thorns, &c. 



ALL'S WELL THAT ENDS WELL. 103 

Meaning ; I merely play upon your feelings with the 
word, in order to try your affection ; for the time is 
near at hand, when, my probation being over, the same 
root, which has produced affliction, shall also produce 
the purest sweets. 

The word is suffer; which Helena uses, and Diana 
replies to the same word: she is satisfied to suffer, if it 
be her will and pleasure. 



Scene V. — page 371. 

Lafeu. Your son was misled with a snipt-tafFata fellow there; 
whose villainous saffron would have made all the un- 
baked and doughy youth of a nation in his colour: 

By villainous saffron, Lafeu means, brazen impudence : 
That the brazen impudence, and fascinating irregu- 
larities of Parolles, would seduce and corrupt all the 
inexperienced youth of a nation, and, ultimately, make 
them become as brazen as himself. Thus, Lafeu com- 
pares the pernicious counsel of Parolles, and his viscious 
practices, (which those who associate with him, imitate,) 
to saffron; which, being mixed with dough, colours the 
entire mass. 



Scene V. — page 375. 

Clown. Why, sir, if I cannot serve you, I can serve as great a 

prince as you are. 
Lafeu. Who's that? a Frenchman? 
Clown. Faith, sir, helms an English name; but his phisnomy 

is more hotter in France, than there. 

Bishop Warburton observes, — " This is intolerable 
nonsense. . The stupid Editors, because the devil was 
talked of, thought no quality would suit him, but hotter. 
We should read, more honoured. A joke upon the 



104 ALL'S WELL THAT ENDS WELL. 

French people, as if they held a dark complexion, which 
is natural to them, in more estimation than the English 
do, who are generally white and fair." 

Mr. Steevens observes, — " This attempt at emendation 
is unnessary. The allusion is, in all probability, to the 
morbus Gallicus" 

As the word hotter, is not the first link of the chain 
which the subsequent parts of this scene form, it becomes 
necessary to commence our elucidation after Lafeu's 
demand. 

Clown. Why, sir, if I cannot serve you, I can serve as great a 

prince as you are. 
Lafeu. Who's that? a Frenchman? 
Clown. Faith, sir, he has an English name, 

That name — Edward Plantagenet. 

Clown. But his phisnomy is more hotter in France than there. 

And so it proved, at the battles of Cressy and Poic- 
tieures. In the former, 100,000 French were defeated 
by his valour ; and here, for the first time, the English 
made use of canon, which, helping to gain the victory, 
made him hotter in France than in England, where 
domestic peace required not these engines of destruction. 

Lafeu. What prince is that? 
Clown. The Black Prince, sir. 

Edward, Prince of Wales, commonly called the Black 
Prince, from his wearing black armour : — " alias, the 
Prince of Darkness,'" from the same cause : — " alias, the 
Dei)//,". from his undaunted courage, invincible arms, 
and amazing victories ; which were not merely confined 
to France, but also extended into Spain. 

Clown. I am a woodland fellow, sir, that always lov'd a great 
fire ; and the master I speak of, ever keeps a good 
fire. 

Bishop Warburton observes, — " Shakspeare is but 
rarely guilty of such impious trash. And it is observ- 



ALL'S WELL THAT ENDS WELL. 105 

able, that then he always puts that into the mouth of 
his fools, which is now grown the characteristic of the 
fine gentleman" 

On the phrase, impious trash ! I shall be silent. It 
is, however, pretty obvious, that the Clown makes known 
that he was born in the woods, and always loved a 
great fire ; but the goodjire which the master he speaks 
of, keeps, is the constant fire of the artillery, musketry, 
&c. and the number of villages that became a prey to 
the flames, at the battles of Cressy and Poictieures. 

Clown. But, sure, he is the prince of the world, let his nobility 
remain in his court. 

At the battles of Poictieures, the princes of the 
blood, tributary princes, and all the nobles of France, 
accompanied the King ; as also the King of Bohemia, 
whose trophy, three ostrich feathers, with the motto, 
Ich dien (I serve,) was taken from him by the Prince 
of Wales. Such a display of nobility, the Clown deems 
unnecessary for the Black Prince, whose name being 
sufficient to appal the enemy, his nobility may remain 
in the court of England. — At the battle of Cressy, but 
three of his knights and one esquire fell : — the French 
lost the flower of their nobility. 

Clown. I am for the home with the narrow gate, which I take 
to be too little for pomp to enter : 

The house — England. The narrow gate — the Streights 
of Dover. His allusion to pomp, the ostentatious finery 
of the French nobility; and that, notwithstanding their 
brilliant appearance, British valour would protect 
Britain's territories from all invaders. 

What led Bishop Warburton astray, and induced hint 
to term this. passage blasphemy, was, its seeming affinity 
with Sacred Writ : Straight is the gate and narrow is the 
way that leadeth to heaven, and few there be that find it* 



106 ALL'S WELL THAT ENDS WELL. 

Clown. Some, that humble themselves, may ; 

Those princes and nobles of France, who submitted 
to the Black Prince; and the Spaniards, whom he 
humbled, by reinstating Peter the Cruel on the Spanish 
throne. 

Clown. But the many will be too chill and tender; and they'll 
be for the flowery way, that leads to the broad gate 
and the great fire. 

Edward the Third resigned the French dominions 
to his son, the Black Prince. Numbers who were 
attached to the French monarchy, and who would not 
humble themselves, by promising allegiance to the Prince, 
quitted their estates, and settled in the south, the garden 
of France, or flowery way, that leads to the broad gate, (the 
Mediterranean Sea.) and the great fire, (Mount Visuvius.) 

This is another passage, which gained the imputation 
of blasphemy : Dr. Warburton imagined, that it had re- 
lation with the following Sacred extract :~ Broad is the 
gate, and wide is the way that leadeth to destruction, and 
many there be that enter therein. 

Oh, Shakspeare ! having thus brought thy devil from 
darkness to be exposed to light ; and having found the 
key which opens the narrow and the broad gates, which 
thy unerring genius had closed for nearly two centuries ; 
I trust, that this part of thy treasures will no longer meet 
the imputation of diabolical nonsense and impious trash I 



Scene V .—page 376. 

Countess, —and, indeed, he has no pace, but runs where he will. 

Privileged by the station he holds, the Clown has 
no limits, either in his speech, actions, or wanderings ; 
but speaks what he pleases ; acts as he likes ; and goes 
whither his inclinations prompt him. 



ALL'S WELL THAT ENDS WELL. 107 



ACT V. 

Scene II. — page 381. 
Parolles. Good Monsieur Lavalch, give my Lord Lafeu this letter. 

Mr. Steevens observes, — u This is an undoubted, and 
perhaps irremediable corruption, of some French word." 
I should think, that any person acquainted with the 
French language must know, that la -catch, means, a cow. 



Scene II. — page 384. 

Clown. Here is a pur of fortune's, sir, or of fortune's cat, (hut 
not a musk cat), that has fallen into the unclean fish- 
pond of her displeasure, and, as he says, is muddied 
withal. 

The purring of a cat, is as the fawning of a dog : the 
Clown means, — here is a fawning wretch, an outcast of 
fortune, or rather, of fortune's cat, who stinks with her 
displeasure, and comes with fawning servility to solicit 
your protection. 



Scene II. — page 384. 
Clown. I do pity his distress in my smiles of comfort. 

The language of the Clown has been, throughout, 
uniformly correct ; he, therefore, cannot have made 
a blunder on a familiar word. The dirty comparisons 
which he has made, on the unfortunate Parolles, are 
what he alludes to : — they were, therefore, designed to 
torment, not comfort him ; but, thinking that he has 
levelled a sufficiency of jokes at him, he says, — 
I do pity him in my similes of comfort. 



108 ALL'S WELL THAT ENDS WELL. 

In Henry V. Act II. sc. i. a similar blunder appears. 
Nym, is made to say, — "there shall be smiles" instead 
of which, the true word is similes. I scarcely think the 
word, in either instance, designedly corrupt; but that 
the person who read to the transcriber, sounded it 
simtniles, which was taken for smiles. 



Scene III. — page 392. 

Bertram. You are deceiv'd my lord, she never saw it: 

In Florence was it from a casement thrown me, 
Wrapp'd in a paper, which contain'd the name 
Of her that threw it : nohle she was, and thought 
/ stood ingag'd; hut when I had subscrib'd 
To mine own fortune, &c. 

Few English compositors are acquainted with the 
French language. In the present instance, two French 
words, holding some similarity, both in sound and cha- 
racters, with an English word, have been mistaken for 
the latter ; by which, the Author's meaning is so per- 
verted, as to render the passage quite obscure. We 
should read : 

In Florence was it from a casement thrown me, 
Wrapp'd in a paper, which contain'd the name 
Of her that threw it: noble she was, and thought 
I stood in gage: 

in gage, i. e. in pledge. The ring being of great value ; 
the Lady considered that Bertram, as a man of honour, 
would consider himself as a pledge to her for the ring. 
He proved so; for, as as he could not answer in that 
course of honour, which she expected from a man of 
gallantry, he offered to restore the ring ; but which, in 
heavy satisfaction, at the reasons he assigned, she would 
never receive again. 

Gage aV amour, (pledge of love) is a common motto 
on rings. The compositor not understanding the word, 
made in gage — engaged. 



ALL'S WELL THAT ENDS WELL. 109 

But the render will be more firmly persuaded that 
in gage is the true reading", by the following extract 
from the Spanish Tragedy : 

Bai.thasf.r- What if conceit have laid my heart to gage? 
Bcl-Imperio. Pay that you borrow'd, and recover it. 



Scene III. — page 396. 

La feu. I will huy me a son-in-law in a fair, and toll him : for this 
I'll none of him. 

From divers interpretations of this passage, Bertram 
becomes involved in three different kinds of toll. First, 
toll the bell for this, meaning, Bertram : — Secondly, he is 
to be tolled out of the fair : — Thirdly, he is to be sold in a 
fair, as a person would sell a horse (to the best bidder,) 
the particulars of which is to be entered on the toll-book. 
And, yet, the toll has nothing to do with the confuted 
Bertram. 

The idea which Dr. Percy conceived of this passage, 
is perfectly just. Mr. M. Mason, also, pays toll on the 
same principle ; but, neither of these highly respectable 
authorities assign the reason, why Lafeu will toll the 
son-in-law he intends to purchase. Now, it is not to 
prove that he came honestly by him, as a man will toll 
in a fair when he buys a horse; but, that by means of 
this entry, notoriety shall be added to the transaction ; 
that such son-in-law shall not dare to disclaim his wife : 
nor act with that infidelity and perfidy with which Ber- 
tram is charged, in Diana's letter to the King. 

A modern edition of this comedy, has the passage 
thus : 

" I will buy me a son-in-law in a fair, and toll for this—V\\ none 
of him." 



110 ALL'S WELL THAT Ex\DS WELL. 

I believe the text originally read : — 

1 will buy me a son-in-law in a fair, and toll: for this I'll none 
of him. 

I have recently learned, that this is the reading of the 
first folio. 



Scene III. — page 401. 

Bertram. certain it is, I lik'd her, 

And hoarded her i'the wanton way of youth: 
She knew her distance, and did angle for me, 
Madding my eagerness with her restraint ; 
As all impediments in fancy's course, 
Are motives of more fancy; and, in fine, 
Her insuit coming with her modern grace, 



In my opinion, we should read — modest grace : that 
modest grace which she displays before the king, and 
which Bertram would insinuate as assumed, in order to 
impress on the mind of the king, that her principles are 
pure. — The st, in modest, if not clearly written, might 
easily deceive a compositor : the sense of the passage is 
obvious. 

My predecessors defend the present reading : Dr. 
Johnson thinks, modern — means, meanly pretty. — Mr. 
Steevens, common, or the appearance of her being to be 
had: — And Mr. M. Mason — a tolerable degree of beauty . 
However, I simplify the passage to plain sense, and have 
strong grounds to support both the beauty and modesty of 
Diana. See the gentleman's speech, who delivers 
Diana's letter to the King : 



I undertook it, 



Vanquish' d thereto hy the fair grace and speech 
Of the poor suppliant, who hy this, I know, 
Is here attending: her husiness looks in her 
With an importing visage; and she told me, 
In a sweet verbalhr'ief, it did concern 
Your highness with herself." 



ALL'S WELL THAT EXDS WELL. \\\ 



Scene III. — page 402. 

Diana. I must be patient 

You, that turn'd off a first so noble wife, 
May justly diet me, 

On the various and forced elucidations of this pas- 
sage, I shall be silent: the Commentators have made 
the most they could of it. We should read : 

I must be patient : 
You, that turn'd off a first so noble wife, 
May justly edict me. 

And which he has done before the court, by proclaim- 
ing her to be a common prostitute. 

In the Winter's Tale, Act III. sc. ii. where Her- 
mione strives to defend her character against the unjust 
imputations of Leontes, we have nearly the same phrase : 

Myself on every post 



Proclaim'd a strumpet," &c. 

The c, in edict, was taken for an e, and as the word 
then read, ediet, the first e was expunged, and thus, diet 
was intruded, to the confusion of all sense and reason. 
For the explanation of the word diet, I refer the reader 
to Johnson and Steevens' edition of these plays, where 
it is curiously defended. 

I admit that edict is a substantive ; but it will also be 
admitted, that Shakspeare has repeatedly used substan- 
tives as verbs, where fancy led him to assert a preroga- 
tive, which, in his time, more peculiarly belonged to 
poets. Had he used the word, proclaim, the verse would 
be rather hobbling, on account of the terminating m, in 
proclaim, being followed by m in the next word. Let 
honourable criticism determine. 



Earning of tfjf &i)t*fo* 



INDUCTION. 

Scene I. — page 13. 

Si,y. No, not a denier: Go by, says Jeronimy ; — go to thy cold 
bed, and warm thee. 

The threat made use of by Sly, on the opening of this 
scene, is a sufficient proof, that his present words mean 
to terrify the hostess, and so swear her out of her 
money ; an effect which the moderation of the present 
reading cannot yield. 

Mr. Theobald observes, that a " Saint has been 
coined by Sly, to swear by." I, however, do not think 
that Shakspeare turned coiner on this occasion : the 
early editions having, — 

No, not a denier: Go by, Saint Jeronimie. 

That Jeronimie and Hieronimie, mean the same, will, 
I think, be admitted ; and, that Hieronimie was a saint, 
and held in great veneration by the Spaniards, is indis- 
putable. Charles V. when he abdicated the throne, 
in favour of his son, Philip, retired to the monastery of 
Saint Just, of the Order of Hierommites ; from Hiero- 
nimie, who was sainted as the founder of that order. Is 
it not highly probable, then, that to swear by Saint Je- 
ronimie^ was in derision of the Emperor's weakness ? 

But, notwithstanding the efforts of the Commentators 
to correct this passage, they have all been far from the 
mark ; and, even the piece of stage history ', that has been 
introduced, avails nothing in the scales of reason : The 



TAMING OF THE SHREW. l]yj 

changing of a single letter perfects the sense : our 
Author wrote : 

No. not a denier: JV*0, by saint Jeronimy! 

Sly strengthens the negative, which he uses at the 
commencement, by repeating it a second time, and then 
follows it with the oath. 

The compositor happened to compose a G. which he 
found in the iVbox, and as it formed a word, passed ob- 
servation. We have innumerable errors of this de- 
scription in the old editions : even in this play, the old 
copy reads — ;; Balk logick," for •• Talk logick." 



Scene I. — page 16. 

Lord. Brach Merriman. — the poor cur is embossed. 

JMerriman, is clearly the name of the hound; but a 
name by no means adapted for a female of the canine 
species. However, by transposing the article, a clear 
sense is obtained : 

The brach, Merriman, poor cur is emboss'd. 

Mr. Ritson seems rather positive in asserting, that 
the word, brach^ should read — bathe : and though Dr. 
Johnson also recommends the bath ; and Sir Thomas 
Hannier. to have the poor cur leeched. I cannot think 
the nobleman recommended either ; nor is it a natural 
supposition that he would turn dog-doctor, and prescribe 
a cure for his hound, when the huntsman, retained in 
his service for such purposes, is the person whom he 
addresses. 



Scexe I. — page £0. 

Lord. Persuade him. that he hath been lunatick: 

And. when he says he is — .say. that he dreams, 
For he is nothing but a mighty lord. 



114 TAMING OF THE SHREW. 

This is one of the most extraordinary orders ever 
given by a master to his servants. The nobleman first 
tells them, to persuade Sly, that he hath been lunatick: 
and when Sly, from the grand state in which he finds 
himself, acknowledges that he is so, they are to con- 
tradict their former assertion, and say, — that he dreams! 
Can greater nonsense be exposed to common sense ? 
Our Author, unquestionably, wrote : — 

And, what he says he is, say, that he dreams. 

The nobleman tells his servants to persuade Sly, that 
he hath been lunatick; but now, as he appears sane, 
though telling them what he really is; they must per- 
suade him, that his ideas proceed from a mind long 
unaccustomed to its natural tranquillity ; and, that fancy 
still sports with his imagination. That what, is the 
true reading, is fully proved in the second scene; for, 
when the servants address Sly, by the title of lord, and 
your honour, he then declares what he is ; and gives them 
his name, birth, and education. 

See also the subsequent speech of the huntsman : 

" My lord, I warrant you, we'll play our part, 
As he shall think, hy our true diligence, 
He is no less than what we say he is." 

Thus, u what he says he is," they are to tell him is 
the phantom of imagination ; but, " what they choose 
to say he ?s," Sly must believe. 



Scene II. — page 31. 

Sly. What, I am not bestraught: 

Of this participle, Dr. Johnson observes, he has not 
found the verb : I believe it but an old inflection of the 
verb bestride. The allusion is to the incubus, or night- 
mare, with which Sly thinks himself bestrid. 



TAMING OF THE SHREW. 115 



ACT I. 

Scene I. — page 39. 

Lucentio. Pisa, renowned for grave citizens, 

Gave me my being, and my father first, 

A merchant of great traffick through the world, 

Vincentio, come of the Bentivolii, 

Vincentio his son, brought up in Florence, 

It shall become, to serve all hopes conceiv'd, 

To deck his fortune with his virtuous deeds : 

All the Bentivolii of Pisa cannot make good sense of 
this passage, in its present state. What effect has the 
impersonal pronoun it : without a relative ? Vincentio is 
a proper name, and requires, if a pronoun in the subse- 
quent verse were necessary, the personal, /. — The old 
copy reads : 

Vincentio' s son, brought up in Florence, &c. 

And which seems so far correct ; but the verse is im- 
perfect, and should have been preceded by the personal 
pronoun, /,— and which, I am certain, was the original 
reading : 

I, Vincentio's son, brought up in Florence, 
Shall become, to serve all hopes conceiv'd, 
To deck his fortunes with his virtuous deeds : 

The compositor took up a £, instead of a comma, which 
making — It Vincentio's son ; the corrector imagined, 
that It belonged to the sequent verse, and changed its 
position. 



Scene I. — page 45. 

Gremio. Their love is not so great, Hortensio, but we 

may blow our nails together, and fast it fairly out; 
our cake's dough on both sides. 

Gremio and Hortensio are rivals for Bianca. With 
Katharina they have no concern : why, then, should both 
sisters be apparently included by the word, Their? The 



116 TAMING OF THE SHREW. 

transcriber certainly mistook the word; — we should 

read: 

There love is not so great Hortensio, &c. 

Gremio and Hortensio have been conversing with 
Baptista and his daughters, in that part of the street, 
opposite their dwelling-house ; consequently, there the 
object of their love resides. Discoursing, then, on the 
cold manner in which they have been treated, Gremio 
says, — There, (pointing to the house,) love is not so great , 
but we may blow our nails together, and fast it fairly out. 
Thus, Gremio reconciles the coldness of his mistress, 
who prefers " books and instruments," to the courtship 
of her two admirers ; and recommends his friend not to 
indulge a passion, where there is no hope of obtaining^ 
the object ; for, their cake is dough on both sides, i. e. 
both have been treated with equal coldness. 



Scene II. — page 56. 

Petruchio. Signior Hortensio, twixt such friends as we, 

Few words suffice: and, therefore, if thou know 
One rich enough to be Petruchio's wife, 
(As wealth is burthen of my wooing dance,) 

Love, is the burden of a wooing song : — wealth, the 

burthen of a wooing dance. His journey from Verona 

to Padua, is his dance after a wife. See the last lines of 

this speech : 

I come to wive it wealthily in Padua ; 
If wealthily, then happily in Padua. 



Scene 11.-— page 58. 

Grumio. Why, give him gold enough and marry him to a 

puppet, or an aglet-baby ; or an old trot with ne'er a 
tooth in her head, &c. 

The word, trot, has but one meaning; and, as it denotes 
activity, cannot be well adapted to an old woman with 
ne'er a tooth in her head! We certainly should read, — 
— or an old trol with ne'er a tooth in her head. 



TAMING OF THE SHREW. 117 

All old trot, the contraction for trollop — meaning, a 
dirty, slovenly old woman ; and who, in the progress of 
prostitution, has gained complaints which not only occa- 
sioned her loss of teeth, but left also the many diseases 
enumerated in the text. What strongly induces me to 
think trot, the true reading, is, that the transcriber, in 
making the stroke to the f, drew it also across the I; a 
piece of carelessness from which few writers are exempt. 



Scene II. — page 59. 

Grvmio. She may, perhaps, call him half a score knaves, 

or so: why, that's nothing; an he begin once, hell 
rail in his rope tricks. 

By rope tricks, Grumio means, — that should Katherina 
display any of her violent passions before Petruchio, she 
may rail for awhile ; but, should he resent her conduct, 
he will make a rope play tricks across her back and 
shoulders. 



Scene II. — page 60. 

Grumio. I'll tell you what, sir, — an she stand him but a 

little, he will throw a figure in her face. 

Should she resist him, he will not even respect her 
beauty : every welt of the rope must be a figure. 



Scene II. — page 60. 
-and so disfigure her with it, that she shall haiu 



no more eyes to see withal than a cat. 

This points to the scourge of correction with which 
Petruchio plays his rope-tricks. With that small kind 
of rope, called whip-chord, he has made a cat; the effect 
of which, not only his hounds, but, perhaps, his servants 
also, have experienced : with this, Petruchio will so dis- 
figure Katherina, that she shall have no more eyes to see 
withal, than the cat with which he corrects her. 



US TAMING OF THE SHREW. 



ACT II. 



Scene I.— page 76. 

Tkamo. I here bestow a simple instrument, 

And this small packet of Greek and Latin books : 
If you accept them, then their worth is great. 

Baptista. Lucentio is your name? of whence I pray? 

The suppositions of the Editors, as mentioned by Mr. 
Mai one, carry not sufficient weight to warrant absurdities 
so out of dramatic order : the true mode, is the most 
simple ; and, as Tranio assumes the rank and name of 
Lucentio, and as he declares the occasion of his visit, 
it becomes equally necessary for him to declare that 
name : such, in my opinion, was the Author's regulation, 
and such we gain without any difficulty. 

Tranio. And this small packet of Greek and Latin books : 
If you accept them, then their worth is great: — 
Lucentio is my name. 

Baptista. Of whence, I pray ? 

Tranio. Of Pisa, sir, son to Vincentio. 

Thus, supposition gives way to familiar understanding. 



Scene I.— page 80. 



Hortensio. While she did call me, — rascal fiddler, 
And — tw angling Jack. 

Twang, means, a sharp sound ; such as is greeting to 
the sense. Katharina, in a subsequent part of this scene, 
when expostulating with her father on her projected 
marriage, styles Petruchio, a swearing Jack; which 
means, a swearing fellow: on which principle, a twang- 
ling Jack must mean, a noisy ^ or discordant fellow . 



TAMING OF THE SHREW, 119 

Scene II. — page S3. 

Petruchio. Women are made to bear, and so arc you. 
Katiiarixa. No such jade, sir, as you, if me you mean. 

This passage, it seems, lost a word, through careless- 
ness in printing the old copy, and for which Sir was 
substituted: but Sir carries too much moderation in the 
retort of a virago, for a lash so well aimed at her in- 
feriority : besides, the word jade, preceding Sir, is quite 
in opposition to character. I am, therefore, inclined to 
think, that Katharina plays upon the word bear, as used 
by Petruchio, and that she pays him in his own coin. I 
read : 

No such jade as you, — bear! if me you mean. 

L e. No such jade as you, you rough savage animal. 



Scene I. — page 96. 

Tranio. A vengeance on your crafty wither'd hide! 
Yet I nave fac'd it with a card of ten. 

What Mr. Steevens calls a common blunder, relative to 
the figured cards, the following historical relation, from 
a French work, will, I think, contradict. The game 
of cards was invented, in 1392, by a painter, named 
Jacquenin Gringonneur, to amuse Charles VI. during 
his sane moments. The trefle (clubs) was designed as a 
precaution to generals, that they should form their camp 
in places where forage was abundant :— the piques and 
carreux (spades and diamonds) were to denote military 
stores of every description: — the cceur (hearts) repre- 
sented the bravery of the chiefs and soldiers :- — the ace, 
ancient money of the Romans, was designed as the symbol 
of finance: — the four valets, or knaves, were repre- 
sentations of four famous warriors— Hog ier, L*aun- 
celot, La Hire, and Hector : the first two, were the 



120 TAMING OF THE SHREW. 

most valiant and renowned chieftains in the time of 
Charlemagne. Hector and La Hire, were celebrated 
captains, who eminently distinguished themselves in the 
reign of Charles VI. The title of variety in modern 
French, valet, was anciently honourable; and next in 
rank to chevalier, or knight; (though, in our English 
cards, we style the valets — knaves.) Thus, the four knaves 
represented nobility; and all the cards from the ten, 
(the ace excepted) soldiers. — The four kings, were the 
then existing monarchs of France, Italy, Germany, and 
Spain. Argine, the queen of clubs, represented Maria 
of Anjou, queen of Charles VII. Rachel, queen of dia- 
monds, — the beautiful Agnes Sorrel. Isabella of Bavaria, 
under the name of Judeth, — the queen of hearts: and, 
the queen of clubs, as Pallas, — the Maid of Orleans. 

Thus, as the figured cards represented royal per- 
sonages, and the most distinguished characters, they 
obtained the name of Cartes de la Cour\ — literally, court 
cards ; and which name they still retain in France : — 
Coat cards, therefore, is evidently a corruption ; and 
erroneously so called, from the robes in which the court 
characters are painted. 



ACT III. 

Scene II. — page 102. 

Bianca. Old fashions please me best ; I am not so nice, 
To change true rules for odd inventions. 

It appears to me, that Bianca wishes to display her 
marked disapprobation of Hortensio's suit ; and which 
he gives her an opportunity of calling impertinent, by 
the false mode of gallantry which he adopts. I believe 
our Author wrote : 

Old fashions please me best; I am not so nice, 
To change true rules for bold inventions. 



TAMING OF THE SHREW. Ul 



Scexe II. — page 105. 

Biondella. Why, Petruchio is coming, in a new hat, and an old 
jerkin; a pair of old breeches, thrice turned; a 
pair of boots that have been candle-cases, one 
buckled, another laced; an old rusty sword ta'en 
out of the town armory, with a broken hilt, and 
chapeless ; with two broken points: 

Two broken points! All the Commentators concur in 
opinion, that this passage is corrupt : " For, how a sword 
could have two broken points," says Dr. Johnson, "I 
know not." Mr. Steevens thinks there was a deficiency 
in the broad and rich belt of Petruchio, and that the 
broken points refer to it. But, notwithstanding the various 
opinions on this two-pointed puzzle, nothing is clearer 
than, that the sword which Petruchio took out of the town 
armoury had two broken points ; and, that the character 
may, in future, be furnished with a sword to correspond 
with the Author's words, I shall explain this extraor- 
dinary paradox! — Petruchio's sword, notwithstanding 
all its other deficiencies, had — a scabbard; but, unfor- 
tunately, that scabbard had a broken point ; i. e. had lost 
its tip ; nay, perhaps wanted one fourth of its due length : 
thus, his broken-pointed sword, (the blade; for the blade 
is but a part of the sword.) had a full opportunity of 
peeping out; and, to the amazement of Biondella, dis- 
covered that this famous sword had — two broken points ! 

Had the blade been shorter than the scabbard, not- 
withstanding the scabbard had lost its tip. or point, one 
broken point (only) could be seen. 



Scene II. — page 107. 

Biondella. an old hat, and The humour of forty fancies 

prick* d in't for a feather. 

Whatever object of fashion or folly, this emblem was 
intended to caricature, it could not be prick' d in either 



122 TAMING OF THE SHREW. 

an old or new hat, and which, according to the text, we 
are taught to credit. But, the word prick' d has nothing 
to do with the manner in which The humour of forty 
fancies was fastened to the hat: it might have been 
sewed, or it might have been pinned : Injudicious punc- 
tuation occasions this obscurity. I read : 

An old hat, and The humour of forty fancies prick'd; in't for a feather. 

Long before Shakspeare's time, (though the art is not 
yet lost;) there was a kind of ornamental work pricked 
on paper. The art belonged, I imagine, more particu- 
larly to the fair sex. The designs were various : I have 
met with some between the leaves of old books ; such as 
birds, bunches of flowers, &c. Of such handy - work, 
then, was The humour oj forty fancies , which Petruchio's 
lackey had attached to his hat, instead of a feather. 

I dare say, most of my readers have seen ornaments 
of this nature, and, therefore, may form an idea of its 
effect in a hat, as a substitute for a feather. But, though 
I can thus far divine the Author's meaning, yet, I profess 
myself unacquainted with the device of The forty fancies. 
However, it so far removes obscurity from the text; and 
overcomes, I should imagine, the idea conceived by one 
of Shakspeare's Commentators, that a bunch of ballads, 
was prick'd in his (Grumio's) hat, for a feather ! 



Scene II. — page 117. 

Kathauina. Let me entreat you. 

Propriety should never be violated for the sake of a 
word, to complete a verse, particularly, when that verse 
is divided. The word stay, is already used five times ; 
and, according to the opinion entertained by Mr. Steevens, 
must have been repeated seven times, in seven lines ! But, 



TAMING OF THE SHREW. US 

had this been the case, Petruchio's answer to Katharina 
must have lost its effect, and prevented the positive 
negative, which he gives to her second entreaty : for 
instance, according to the idea of Mr. Steevens : 

Katharina. Let me entreat you, stay ? 
Petruchio. I am content. 

This reply is a direct acquiescence to the entreaty 
of Katharina ; but, without the word stay, she perceives 
the ambiguity of Petruchio' s answer, which implies : — 
/ am content that you may entreat me: therefore, to 
obtain a direct answer, she demands more explicitly : 
" Are you content to stay ?" 

Here the word stay, is used with propriety, and obtains 
the positive denial : 

Petruchio. I am content you shall entreat me stay ; 

But yet not stay, entreat me how you can. 



Scene II. — page 117. 

Petruchio. Grumio, my horses. 

Grumio. Ay, sir, they he ready : the oats have eaten the horses. 

Mr. Steevens's elucidation of this passage appears 
erroneous: the following observations will, I think, 
justify this assertion. 

On Petruchio's arrival at Padua, he hastened off to 
church with Katharina ; from whence he returned, im- 
mediately after the marriage ceremony, to the house of 
Baptista. Now, during this short period, the horses 
had not even time to rest, if stabled; which makes 
Grumio give this quaint reply: — Ay, sir, they are 
ready " meaning, that the horses were in the same state 
as when they arrived — ready saddled and bridled ; there- 
fore, u the oats have eaten the horses:" i. e. all the oats 
that were laid before them — none at all. 



124 TAMING OF THE SHREW. 

Scene II. — page 119. 

Petruchio. Nay, look not big, nor stamp, nor stare, nor fret; 
I will be master of what is mine own : 
She is my goods, my chatties ; she is my house, 
My household stuff, my field, my barn, 

Read— 

My household stuff, my field ,• she is my barn. 
This repetition of the words, she is, perfects the 
measure. 



ACT IV. 

Scene I. — page 121. 



Grumio. Fye, fye, on all tired jades! on all mad masters ! and all 
foul ways ! Was ever man so beaten ? was ever man so 
ray'd ? was ever man so weary ? 

The word beaten, seems to have led Dr. Johnson into 
an error: he interprets ray'd, to mean, marks of lashes. 
Grumio is a servant, who stands first in the confidence 
of his master ; is privy to all his whims, and knows that 
those irregularities and passions, practised by Petruchio, 
are assumed to intimidate the imperious Katharina. Is 
it then to be supposed, that Petruchio would so sport 
with Grumio's feelings as to beat him to such a degree 
that his frame became ray'd, or welted, by the severity 
of lashes ? No, no : another very sufficient cause gives 
poor Grumio reason to say, "was ever man so beaten? 
was ever man so ray'd? was ever man so weary?" — 
He had come a long journey: bleak was the weather, 
a chilling frost prevailed : his horse, weak, hungry, and 
spiritless, had encountered many stumbling disasters; 
and often was Grumio compelled to trudge the frosted 
roads. Arrived at his master's house, he there bewails 
his situation, and feelingly complains of the three 
greatest evils attendant on an unfortunate traveller : he 
was weather-beaten, frost-bitten, and weary! — thus, by 



TAMING OF THE SHREW. 125 

beaten, he means, weather -be at en ; by raifd, he means, 
the cracks and streaks which such parts of his frame 
received as were exposed to the nipping- frost; and, for 
weary, it explains itself. 



Scene II. — page 124. 

Curtis. There's fire ready; And, therefore, good Grumio, the news? 
Grumio. Why, Jack boy ! ho boy! and as much news as thou wilt. 

The humour of Grumio's reply seems to have been 
lost on the Editor of the second folio. Curtis is im- 
patient for news ; and Grumio, too much fatigued, and 
too cold to gratify his curiosity, cuts him short with a 
few words from a catch ; to which he adds, " and as 
much news as wilt thou I" as though he snapt his fingers 
at him, and said, as much news as — that ! 

Had the original text been according to the present 
reading, there was no room for Curtis to mark his dis- 
pleasure: for, the words, "as much news as thou wilt," 
implies a ready inclination to gratify curiosity: but 
Curtis felt himself hurt at Grumio's reply, and denotes 
his dissatisfaction, by saying, " Come, you are so full of 
cony catching" 

The original reading, u As much news as wilt thou!" 
should be restored. 



Scene H.—page 124. 

Grumio. Be the Jacks fair within, the Jills fair without. 

He alludes to a japanned vessel, called a black-jack: 

this vessel generally held a quart; was black outside, but 

fair within : the jill, or rather gill, held about half-a- 

pint, and was generally of silver, or plated; conse- 



126 TAMING OF THE SHREW. 

quently, fair without': such were, formerly, the drinking- 
vessels used at table. 



Scene II.— page 140. 

Biondella. Oh master, master, I have watch'd so long 
That I am dog-weary ; but at last I spied 
An ancient angel coming down the hill, 
Will serve the turn. 

Biondella, fatigued with watching, had given up all 
hopes of finding a person suitable to his purpose ; when 
this old man appearing, " coming down the hill" was to 
him as the appearance of an angel. The subsequent 
part of the dialogue proves, that the word is used figu- 
ratively, and merely to denote his satisfaction. 

Tranio. What is he, Biondella ? 

Biondella. Master, a mercatante, or a pedant, 

/ know not what ; but formal in apparel, 
In gait and countenance surely like a father. 

The words, "J know not what;" prove sufficiently, 
that neither rank, title, order, or profession, induced 
Biondella to give this fatherly-looking man the epithet 
of angel. 



Scene H.~—page 165. 

Biondella. I cannot tell ; except they are busied about a coun- 
terfeit assurance: — Take your assurance of her, 
cum privilegio ad imprimcndum solum : to the 
church; — take the priest, clerk, and some suffi- 
cient honest witnesses. 

However chaste the judgment of Mr. Malone, yet I 
must dissent from his explanation of the word, expect ; 
it being in no measure applicable to the present state 
of the plot : for instance, see its effect : — " I cannot tell," 
wait the event, " they are busied about a counterfeit 
assurance, take assurance of her." 



TAMING 0* THE SHREW. 127 

Now, should Lucentio wait the event, which is the 
perfecting of marriage settlements ; the old man, who 
personates Vincentio, may be detected, and so blast all 
Lucentio's promised hopes. But Biondella, knowing 
that Baptista is engaged with the fictitious Vincentio, 
wishes his master to avail himself of the present moment, 
and make sure of Bianca, by marrying her in the 
presence of " sufficient honest witnesses ." This was also 
the grand object of Tranio, when he told Lucentio to 
apprize Bianca of her father's intentions : — ■ 

" Dally not with the gods, but get thee gone:" 

i. e. The gods give you this favourable opportunity to 
effect your wishes; lose it not, but go about it im- 
mediately. 

The text, in its present state, is defective and obscure. 
If the word expect, as in the first folio, be preferred, 
the passage should read : 

I cannot tell, but expect, while they are busied about a counterfeit 
assurance, take you assurance of her. 

If the word except, we should read : 

I cannot tell, except while they are engaged about a counterfeit 
assurance, &c. 

Of this hint, it is evident, Lucentio avails himself: he 
waits not for the event, for the event may be the detection 
of the fictitious Vincentio; but embraces the golden 
opportunity, and flies off with Bianca to the old priest, 
at St. Luke's Church, and gets married. 



ACT V. 

Scene I. — page 172. 



Biondella. Nay, faith, I'll see the church o'your back; and 
then come back to my master as soon as I can. 



128 TAMING OF THE SHREW. 

The old copies read : — u Come back to my mistress," 
which reading, I believe perfectly correct. 

In the present scene, Biondella addresses his real 
master, and not wishing' to give the empty title of master 
to his fellow servant, Tranio, he facetiously styles him, 
mistress, as being secondary in command. 

The word mistress should be restored. 



Scene I. — page 178. 

Lucentio. Here's Lucentio, 

Right son unto the right Vincentio ; 

That have by marriage made thy daughter mine, 

While counterfeit supposes blear'd thine eyne. 

The word, supposes, in its present situation, holds the 
rank of a substantive, though its true place is, third 
person singular of the verb — to suppose. Suppositions, 
are ideas to which the mind gives partial credit. Coun- 
terfeit supposes, then, must be ideas by which Baptista has 
deceived himself; and, surely, this is not the case; for he 
has been deceived by others, who, to effect their views, 
counterfeited on him, by false characters and notorious 
falshoods. 

Counterfeit supposers, is the reading of many editions : 
counterfeit supposers, must mean, those, who convinced 
of the falsity of their own suppositions, would strive to 
make proselytes to their erroneous manner of thinking: 
this cannot answer. Let me suppose then, that the 
original was — counterfeit supporters: I think, an ap- 
propriate meaning is thereby gained: counterfeit sup- 
porters, must mean, those, who supported false characters, 
in order to deceive : and, surely, the entire aim of 
Lucentia and his confederates was, to impose on Bap- 
tista; and which they effectually did, by obtaining the 
object for which they supported false appearances. 



TAMING OF THE SHREW. 129 



Scene I. — page 183. 

Petruchio. Nay, that you shall not; since you have begun, 
Have at you for a better jest or two. 

From the time that the old copy was printed, to the 
present, this passage seems to have been made a jest of, 
at the Author's expense; who, in my opinion, neither 
designed it for a bitter, nor for a better jest. In the first 
place, the wit of Bianca is levelled at Gremio and Vin- 
centio : — secondly, Petruchio, having tamed the Shrew, 
resumes his natural character, which is easy, cheerful, 
and facetious ; and he no longer "hides his bitter jests 
in blunt behaviour :" As this is conspicuous, how can we 
suppose that any malevolent passion should induce him 
to make a bitter jest of a delicate female so recently 
married, and to whom he is so closely allied? or, that he 
should propose a better jest, when she had levelled no jest 
whatever at him ? But, Petruchio takes her not up on 
such principles ; on the contrary, he wishes to display 
his truly cheerful disposition before his new relations, 
or connections ; and, to prove that he is a piece of a 
wag, ready to answer Bianca's wit, he gives her a fair 
challenge, and attacks her thus : 

Nay, that you shall not; since you have begun, 
Have at you for a bet, a jest or two. 

Thus, to give additional hilarity to the happy party, 
he proposes jest against jest for a wager. 

Let it be also observed, that Petruchio is in a betting 
humour : he has just offered a bet of one hundred marks, 
that his Kate will beat the widow at repartee; but 
which none of the company dare accept : he then offers 
the present bet; which Bianca, thinking herself unable 
to cope with him, declines, by observing — Ci I mean to 
shift my bush,' ' and accordingly retires. Thus, frustrated 



150 TAMING OF THE SHREW. 

in two efforts to get a wager, he proposes the following, 
and succeeds : 

" Let's each one send unto his wife; 
And he, whose wife is most obedient 
To come at first when he doth send for her, 
Shall win the wager which we will propose." 

This wager is fixed at a hundred crowns: but the 
perfect obedience of Katharina to her husband's orders, 
pleases her father so highly, that he adds twenty thou- 
sand crowns to her dowry. Here the Author's intention 
becomes conspicuous; for the two former bets, which 
Petruchio proposed, were made introductory of this, 
which turns out of such importance to his interest. 

The old copy reads, " a better jest." The word — bitter, 
Mr. Steevens seems to have admitted into the text with 
great reluctance: but Mr. Mai one observes, — "The 
emendation, (of the propriety of which, there cannot, I 
conceive, be the smallest doubt,) is one of the very few 
corrections of any value made by Mr. Capell." 

It remains with the reader to determine, whether the 
very few should be made less. 

The manner in which the present corrupt reading took 
place, is very obvious to me. When the old copy was 
printed, the orthography of the word bet, was bette : 
Now, the compositor having composed the word bette, 
he, proceeding in his work, took up an r instead of an a, 
(for the r and a compartments are immediately next each 
other, and frequently mix, when the letter-case is too 
full, in each other's box :) thus, the proof displayed— 
bette r, and which the corrector thinking should read 
better, he marked the r to be joined to bette, and thus, 
we have had either a better jest, or a bitter jest, in all 
subsequent editions of this play. 



WtinUv i $ ^ale* 



ACT I. 

Scene II. — page 224. 

Leontes. This entertainment 

May a free face put on ; derive a liberty 
From heartiness, from bounty, fertile bosom, 
And well become the agent. 

My predecessors perceived some gross error in this 
passage, but placed their attention on the wrong- word. 
Mr. Malone would read — bounty *s fertile bosom, which, 
from the words preceding bosom, was an emendation 
sufficiently plausible ; however, bosom is the very word 
that destroys the sense, and, like the " stuff' 'd bosom" of 
Lady Macbeth, must get rid of that which corrupts it, 
ere regularity can be obtained. I am perfectly con- 
vinced our Author wrote : 



-This entertainment 



May a free face put on; derive a liberty 
From heartiness, from bounty: — fertile become, 
And well become the agent. 

This is the first fit of jealousy that Leontes feel*; and 
he argues with himself, how far friendship may warrant 
-certain liberties between Hermione and Polixenes : It is 
true, says Leontes, my wife should display every degree 
of polite attention to my guest ; and be free and unreserved 
in her manners ; nay, derive a liberty from the natural 
sincerity of her disposition and bounty of her hetirt; and 
fertile become in adopting measures to render our guest 
perfectly at his ease; and which may well become her, 

k 2 



132 WINTER'S TALE. 

as the supposed agent of my wishes ; all this I admit : 
but to be acting, as she does at present, a O, that is 
entertainment my bosom likes not." 



Scene II. — page 230. 

Leoxtes. Mine honest friend, 

Will you take eggs for money ? 

Leontes, in the midst of his jealous reflections, being 
interrupted by those who occasion them, wishes to throw 
off all suspicion, by trumping up a tale foreign from 
truth. This having so far answered, he is surprised that 
they should be so easily deceived, and demands of his 
son, "Will you take eggs for money?" But, though he 
addresses his son, the dart is thrown at Hermione, and 
means, — will you be so easily deceived; so blinded by 
your passion, as not to perceive that my looks betray 
reflections of a different nature ? If you are, then must 
you be as blind as one who cannot see the difference be- 
tween eggs and money. 



Scene II. — page 235. 

Leontes. They're here with me already; whispering, rounding, 
Sicilia is a so forth. 

Though the woman at the corner of Fleet Market 
helped Mr. Steevens in the elucidation of this passage, 
he might have developed its meaning without her as- 
sistance, even in its present corrupt state ; for, certainly, 
Sicilia was never made a so-forth. 

Leontes, overcome by jealousy, considers himself as an 
object of scorn. Already he thinks he hears his courtiers 
whispering his disgrace, and which he conceives, will be 
generally spoken of throughout his dominions. Yes. 



WINTER'S TALE. 133 

yes, says he, " They're here with me already ; whispering, 

rounding, — 

Sicilia is a sea-froth : 

2. e. A mere nothing ; like the rejected froth which the 
ocean casts upon the beech of Sicily. 

But though the passage as restored, (and, I presume, 
to the original reading,) affords this elucidation ; yet it 
is susceptible of another, more closely veiled. 

Sea-froth, is the scum of the deep : so Leontes thinks 
himself the dupe of the designing. 



Scene II.— page 240. 

Leontes. My wife's a hobby-horse. 

The old copy reads, — "My wife's a holy horse:" the 
correction is Mr. Pope's, and, in my opinion, very inju- 
dicious. Leontes has just said, — " My wife is slip- 
pery;" meaning, that she is apt to stumble: and this 
he desires Camillo to acknowledge as a truth; but, if he 
will be impudently negative to it, "then say" he con- 
tinues, " my wife is a holy horse;" which is well known, 
in allusion to horses, to mean — a slippery jade: and 
called holy, because a stumbling horse falls on its knees : 
to such Leontes compares his wife; because he cannot 
place confidence in her : no more can any person be con- 
fident of safety, when riding a stumbling horse. 

I believe it is unnecessary to say, that the text, as in 
the old copy, should be restored. 

Any horse dealer, or country clown, accustomed to 
horses, could have elucidated this passage, when in its 
original state ; but the learned Commentator was hobby - 
horsically inclined, and did not deem it necessary to ask 
a horse dealer, — What is said of a horse when it has 
broken knees ? 



134 WINTERS TALE. 



ScEx\e II. — page 24(L 



-deserves a name 



As rank as any flax-wench that puts to 
Before her troth-plight. 

This passage, though very corrupt, is not altogether 
obscure ; a meaning may be obtained, but totally foreign 
from the figure which the Author's words display, as 
now restored : 

My wife's a holy horse ; deserves a name 
As rank as any flax-wench that buts tow 
Before her troth-plight. 

To but tow is the business of the flax-wench, who twists 
the tow into a hank; and this is called butting, because 
it confines all the fibres of the tow, and each end becomes 
a but-end. 

In the act of butting, the flax-wench is compelled to 
place herself in an indelicate position : and when the 
first but-end is perfected, it is placed in a manner that 
would create risibility in a libertine, and draw a blush 
from female delicacy. The troth-plight is a sort of apron, 
before which she buts the tow; and a troth-plight is also 
a sweetheart; or, one to whom a female has plighted 
her troth: therefore, butting tow before him, conveys 
ideas that hold no affinity with chastity. Thus, our 
ingenious Bard plays on the words, to mark the supposed 
infamy of Hermione. 



Scene 11.— page 242. 

Leontes. Why he, that wears her like her medal, hanging 
About his neck. 

We certainly should read with Mr. Malone— " like 
Ms medal," &c. The medal which Polixenes wears, is a 
decoration, or insignia of honour : were it the portrait of 



WINTER'S TALE. 135 

Hermione, the unhappy Leontes might have had some 
feeble grounds for suspicion. 

The picture which jealousy draws, is that of a female 
whose hands are clasped round the neck of her lover, 
while her head rests on his bosom. 

His, was, undoubtedly, the Author's reading; but the 
players, or Editors, thinking the medal was the portrait 
of Hermione, changed the word, as in the present text. 



Scene II. — page 244. 
Leoktes. Make't thy question, and go rot! 

The present passage has occasioned strong contro- 
versy : the reading has certainly a sense ; but not that 
corresponding sense which propriety demands. Camillo, 
perfectly moderate and respectful to Leontes, merits not 
that high mark of displeasure which the words — go rot, 
convey; nor are we to suppose the jealous King capable 
of using so harsh an expression to one who is his faithful 
confidant, and who has so far come into his measures, as 
to propose the destruction of Polixenes by a lingering 
poison. But, though he has so far acceded to the wishes 
of Leontes, he still entertains hopes that, by argument, 
he may overcome, what, on reflection, he considers a 
false impression; and he desires a stronger conviction 
of Hermione's guilt, than the mere suggestions which 
a jealous and disordered mind has conveyed. Being 
anxious, then, to defend her loyalty, he apostrophizes his 
defence of her character, by reminding Leontes of his 
affectionate zeal: "I have loved thee" says Camillo: 
Here the King, catching words so correspondent with 
his views, interrupts him — 

Make't thy question, arid go doH! 

Meaning : prove thy words to be true, and go do that 
which you have said you could do : that is, to poison 



136 WINTER'S TALE. 

Polixenes. The words, go do't, strongly mark the King's 
impatience, 

When Camillo agrees to the measure, he uses the 
same words : nay, Leontes himself repeats them more 
than once. 

Leontes. Do't and thou hast the one half of my heart; 

Do't not, thou split'st thine own. 
Camillo. I'll do't, my lord. 

The person who recited to the transcriber, paid no 
attention to the mark of elision, in do't; but read — dot, 
which the transcriber took for rot. 



Scene II. — page 250. 

Camillo. Swear his thought over 

By each particular star in heaven, and 
By all their influences, you may as well 
Forbid the sea for to obey the moon, 
As or, by oath, remove, or counsel, shake, 
The fabrick of his folly. 

However ingenious the emendation proposed by Mr* 
Theobald, may have appeared to others, I cannot extract 
that sense from it which the passage requires. " Szcear 
this though over:' 7 Polixenes has not been swearing: 
he has, indeed, been calling down severe maledictions 
upon his own head to prove the truth of his assertions : 
but, how can maledictions be construed into oaths ? It 
is true, Mr. Theobald's emendation has been rejected, 
and very properly ; but still, all the Commentators con- 
cur, that Camillo means — though Polixenes were to 
swear, " By each particular star in heaven" fyc. Now, it 
will appear very curious that, instead of Polixenes being- 
the person to swear by each particular star, &c. Camillo 
himself becomes the swearer ; and this I will prove by a 
simple note of admiration, which marks his astonish- 
ment, and gives every beauty — every effect to the passage 
which our inimitable Author designed : 



WINTER'S TALE. 137 

Swear his thought over!- 



By each particular star in heaven, and 
By all their influences, you may as well 
Forbid the sea for to obey the moon, 
As or, by oath, remove, or counsel, shake, 
The fabrick of his folly. 

With this simple correction, is there any reader, how- 
ever slightly acquainted with the Plays of Shakspeare, 
that requires an illustration ? 

The importance of this hemistich depends entirely on 
the mode of articulation : the word which commands the 
greatest force of emphasis is the pronoun ; but the entire 
must be marked by a certain degree of astonishment. 

The word, thought, seems to have been expressly 
chosen on account of being a monosyllable ; for, no other 
word, except a dissyllable, could have conveyed equal 
force so as to display the influence which an imaginary, 
or evil conceit, holds upon the understanding of the 
unhappy Leontes. 



Scene II. — page 252. 

Polixenes. Good expedition be my friend, and comfort 

The gracious queen, part of his theme, but nothing 
Of his ill-ta'en suspicion. 

My predecessors advance nothing but conjectures on 
this very corrupt passage, but conjecture can never prove 
a satisfactory elucidation; especially when forced, and 
void of rational support. 

Our Author could not write nonsense. This passage 
I have examined with particular care, and am confident, 
that two egregious blunders, made by the compositor, 
are conspicuous : The word comfort, should read consort ; 
and theme — throne. See the passage corrected : 

Good expedition be my friend; and consort 

The gracious queen, part of his throne, but nothing 

Of his ill-ta'en suspicion ! 



138 WINTER'S TALE. 

Thus, the text is familiarly clear. Polixenes invokes 
good expedition to be his friend, that he may get out of 
the dominions of Leontes with safety; and, at the same 
time, he invokes the same influence to facilitate the 
re-union of Leontes and Hermione ; that she may consort 
or associate with her husband in the participation of his 
throne ; but never partake of his ill-judged suspicions. 

An / has been composed instead of a long /, in the 
word comfort; which, making confort, the corrector 
imagined the word should read comfort, and marked an 
m in the place of an n. Theme, for throne , owes its 
origin to careless writing ; the letters ron, in the word 
throne, were taken for em. 



ACT II. 

Scene I. — page 257. 

Leontes. He has discover'd my design, and I 
Remain a pinch? d thing ; 

Mr. Heath's interpretation of this passage has too 
much of the nursery to be sterling. If the text be 
correct, Leontes means, that the shoe pinches : he feels 
it; and more acutely now, under the conviction, that 
the precipitate retreat of Polixenes is owing to the 
dread of punishment for his illicit intercourse with the 
Queen. But, notwithstanding we obtain this sense from 
the present reading, yet I am strongly of opinion that 
our Author wrote : 

He has discover'd my designs, and I 
Remain a perch? d thing. 

i. e. Like a bird, roosted in its cage, on which its keepers 
may play tricks at their will or pleasure. Leontes 
thought, that he had Polixenes caged, but he finds him- 
self to be the caged bird, and that Polixenes has escaped. 



WINTER'S TALE. 139 

It appears, that the compositor mistook the er, in the 
word perch' 'd, for in : the rest of the characters are 
perfect. 



Scene I. — page 264. 

You are abused, and by some putter-ou, 

That will be damu'd for't ; would I knew the villain, 

I would land-damn him : 

If the compound word, land-damn, be correct, Anti- 
gonus figures, in his own mind, torments which should 
come as near as possible to those inflicted on the damned 
in the infernal regions, and with which the base putter- 
on should be incessantly tormented on earth ; and that, 
when nature had groaned out her last sigh in him, then 
should he receive the awful doom of perpetual punish- 
ment. 

But it is presumptuous, to a high degree, for any 
mortal to arrogate such a power : — Man cannot damn 
his fellow-man, by any act on earth: he may inflict 
punishment; and the greater the punishment, the sooner 
there is a termination of earthly sufferings. In short, 
the text is corrupt; and, I am perfectly convinced that 
Shakspeare wrote — I would land-dam him : — which 
punishment our Author had in view, when he made 
Lucius pass sentence on the moor, Aaron : — 

Set him breast-deep in earth, and famish him ; 
There let him stand, and rave, and cry for food : 
If any one relieves or pities him, 
For the offence he dies. This is our doom : 
Some stay, to see him fasten'd in the earth. 

Titus Andronicus, Act V. sc. iii. 

Thus, he was to be land-dammed, by placing him breast 
deep in the earth : to dam, is to shut up, or confine ; 
which word perfectly corresponds with the punishment. 



140 WINTERS TALE. 

And it is very evident, from what Antigonus says, 
that he could mean no other punishment : he has just 
observed : — 

" You are abus'd by some putter-on, 
That will be damn'd for't," &c. 

Meaning, the awful punishment of an hereafter : but 
the greatest punishment, he conceives, that could be 
inflicted on earth, would be to land-dam him. 

The word damtfd, having occurred in the preceding 
verse, and the sense of land-dam, perhaps, totally un- 
known to the transcriber, he wrote land-damn, from its 
having the same sound. 

This passage seems to have distracted some of my pre- 
decessors, one of whom recommends a dose of lauda* 
num. ! 



Scene I. — page 281. 

Paulina. And, thou, good goddess nature, which hast made it 
So like to him that got it, if thou hast 
The ordering of the mind too, 'mongst all colours 
No yellow in't; lest she suspect, as he does, 
Her children not her husband's! 

The aim of Paulina is, to expose to Leontes his 
unfounded jealousy. She means, that the woman who 
is faithful to her husband, may as well have suspicions 
that her children are not his legitimate offspring, as that 
Leontes is not the father of the child, whose cause she 
pleads: and, therefore, that jealousy, which maddens 
the mind, may not deform Nature's work, in Perdita, 
she makes the invocation, " lest Perdita should suspect, 
as her father does, her children not her husband' 's ! i. e. 
that she should not be so devoid of sensibility, in the just 
distinction of Nature's rights. 



WINTER'S TALE. 141 

ACT III. 

Scene III.— page 309. 
Shepherd. Would I had been by, to have helped the old man! 

The Clown has, in alluding to Antigonus, called him 
both a nobleman and a poor gentleman: but, surely, he 
has not signified to the Shepherd, whether he appeared 
old or young. Mr. Theobald, for this reason, would 
read, nobleman: and Mr. Malone conceives, that old was 
inadvertently omitted; and, that the Clown, in his pre- 
ceding speech, should have said, " Nor the bear half- 
dined on the old gentleman." There are many other 
opinions given on this corrupt passage ; but, being con- 
vinced that all are equally erroneous, I pass them over. 

And now, let me ask, is it possible, that during the 
raging of the storm, which would try the Clown's 
strength of limbs; and, whilst viewing the sad calamity 
of the wreck ; as also, seeing the bear devour Antigonus ; 
together with those ideas natural to man, — personal 
safety; for, the bear might have turned on the Clown: 
I say, with so much to occupy his mind at the same 
moment, could the Clown see whether Antigonus was 
old or young ? Antigonus, who was lying flat, and in 
the fangs of the bear ! I should think not. In short, I 
am convinced the old Shepherd alludes to himself, and 
that our Author wrote : 

Would I had been by to have helped, tho' old man! 

Thus, I read, in order to approach nearer to the 
present text; as, an o for an e, and the additon of an 
apostrophe is only required : but we obtain a more cor- 
rect reading, thus — 

Would I had been by to have helped, tho' an old man! 

But an allowance may be made for the phraseology 
of an old ignorant Shepherd; for, as such he is intro- 



142 WINTERS TALE. 

duced. Besides, let it be observed, that, by the reading, 
as thus restored, the old Shepherd arraigns the young 
Clown, for neglecting to do an act of humanity ; as though 
he said — I, though an old man, would have lent my aid 
to extricate the person from the fangs of the bear; 
which you, though young and strong, have shamefully 
neglected. That the Clown felt the force of this rebuke, 
we see in his reply: 

" I would you had been by the ship's side, to have helped her ; 
there your charity would have lacked footing." 

Now, why does he make this sharp reply? Because 
it would have been equally possible for him to aid the 
ship, as to assist Antigonus; therefore, he dared not 
approach to see whether he was young or old. 



Scene III.— page 329. 

Perdita. But that our feasts 

In every mess have folly, and the feeders- 
Digest it with a custom, I should blush 
To see you so attir'd; sworn, I think, 
To show myself a glass. 

Sir Thomas Hanmer reads swoon: but, surely, we 
cannot imagine, that a young and beautiful girl of 
sixteen, one accustomed to an active life, and living with 
a rude peasantry, could ever harbour such an affected 
thought, as to think of swooning at being dressed out in 
finery, to make her appear more amiable in the eyes of 
her lover. 

The error is certainly in the word sworn. I read : 

1 should blush 



To see you so attir'd ; so worn, I think, 
To show myself a glass. 

So worn, i. e. So reduced in your external appearance, 
that I should think you intended to remind me of my own 
condition; for, by looking atyou ? thus attired, I behold 



WINTER'S TALE. 143 

myself, as it were, reflected in a glass, habited in robes be- 
coming my obscure birth, and equally obscure fortune. 

The words sworn, and so worn, have the same sound, 
unless due emphasis be laid on the word so. 

The phrase, I admit, is not familiar; but it cor- 
responds with one equally discordant to modern poetry, 
which Perdita has just used: 



Your high self, 



The gracious mark o'the land, you have obscurd 
With a swain's wearing. 



Scene III.— page 342. 
Perdita. I'll swear for 'em. 

Sworn and swear have been made quite familiar to the 
innocent Perdita. I hope the manner in which I have 
removed the word sworn, will be as well received as 
this attempt to remove swear, from our Author's text. 

Florizel, on taking the hand of Perdita, observes, — 

So turtles pair, 



That never mean to part. 

But poor Perdita, from the certain knowledge, that 
Florizel, (her turtle,) must part from her, and leave 
her to brood over the disparity of rank, which causes 
their separation, laments, that such cannot be their hap- 
piness; for turtles, ever free, and under no restraint, 
pair elsewhere than in cottages. In my opinion, our 
Author wrote, — 

Elsewhere for them. 

As though she said, — Yes, Florizel ; and if we mean 
to be as turtles, never to part, it must be elsewhere than 
here. 

Pll swear and elsewhere have very little difference in 
sound. 



144 WINTER'S TALE. 



Scene III. — page 344. 

Shepherd. I think, there is not half a kiss to choose, 
Who loves another hest. 

This is evidently a blunder of the transcriber : We 
should read, with Mr. M. Mason : — who loves the other 
best. 



Scene III. — page 351. 

Clown. Clamour your tongues, and not a word more. 

We should read, — 

Chamber your tongues, and not a word more. 

From the old saying — " Keep your tongue within your 
teeth, and shut the chamber door." See Psalm cxli.i?. 3. 



Scene HI.— page 373. 

Camillo. Things known betwixt us three, I'll write you down: 
The which shall point you forth at every sitti?ig, 
What you must say; that he shall not perceive, 
But that you have your fathers bosom there, 
And speak his very heart. 

Camillo is desirous that Florizel shall be prepared to 
answer any questions put to hi in by Leontes ; who, to be 
assured that Florizel is no impostor, may ask him certain 
questions, the direct answers to which, must remove all 
suspicion. This is what we frequently term — sifting 
the truth; and, as confirming truths will be required by 
Leontes, I would be glad to know, what council-sittings 
have to do with the private affairs of a prince who comes 
to visit a foreign court, and signify to an individual, 
though a King, that his father entertains the same de- 
gree of friendship for him that he did, before mistaken 



WINTER'S TALE. 145 

jealousy had sowed the seeds of enmity between them? 
Surely, at the sittings of a King's Council, where business 
relative to the state is discussed, we are not to suppose 
Leontes would put interrogations of a private nature ; 
and, especially such as must remind that council of the 
outrage committed by their King- in violating the rights 
of friendship and hospitality : but more particularly, in 
sending his wife to an early tomb ; and, in causing his 
innocent child to be destroyed ! The passage is corrupt. 
Our Author wrote : 

Things known betwixt us three, I'll write you down : 
The which shall point you forth at every sifting, 
What you must say, &c. 

Thus, every probable question that Leontes may put 
to Florizel, in order to sift from him convincing proofs, 
that he is no impostor, Camillo will write down; by 
which, he will be prepared to give such answers us must 
remove every doubt, either of his quality, or the cause 
which induces him to visit Sicilia. 



ACT V. 

Scexe I. — page 391. 

Leontes. Thou speak'st truth. 

No more such wives; therefore, no wife: one worse. 
And better us'd, would make her sainted spirit 
Again possess her corps; and, on this stage, 
(Where we offenders now appear,) soul vex'd, 
Begin, And w1\y to me? 

Who are the offenders ? who violated, even bv '? breath 
of slander, the chaste principles of Hermione? who, 
except the jealous Leontes? why, then, say (" where we 
offenders now appear.") The old copy reads— u And 
begin, why to me?" The present reading is the result 
of Mr. Steevens's deliberation : it did not, however, 
receive general sanction ; and his defence of it appears 



146 WINTER'S TALE. 

in answer to Mr. Malone's disapprobation. I read, as 
I am certain our Author wrote : 



__ . therefore, no wife: one worse, 

And better usd, would make her sainted spirit 
Again possess her corps; and, on this stage, 
(Where we offended,) now appear, soul-vexd, 
And begin, Why to me? 

Leontes uses the plural we, (the distinction of royalty:) 
he is the only offender, and this he acknowledges. 



Scene I. — page 396. 

Florizel. By his command 

Have I here touch'd Sicilia: and from him 
Give you all greetings, that a king, at friend, 
Can send his brother : 

Though this reading — at friend, is admitted to be a 
species of phraseology of which we have no example ; 
yet, has it been permitted to remain, as if Shakspeare, 
even in his most careless moments, could have written 
nonsense. I hesitate not to say, the original read : 
and from him 



Give you all greetings, that a king, as friend, 
Can send his brother. 

The article, which the substantive (friend) demands, 
was designedly omitted to avoid tautology, and pre- 
serve the measure of the verse. 



Scene II. — page 406. 

Third Gentleman. Who was most marble there changed 
colour, &c. 

Those, from whose hearts tears could not spring, 
testified their feelings, by alternate changes of colour 
and countenance, according as the operations of nature 
worked on the sensibility of the royal party. 



WINTER'S TALE. 147 

Scene III. — page 416. 

Leontes. The figure of her eye has motion in't, 
As we are mock'd with art. 

In Dr. Johnson's Dictionary, to illustrate the word 
fixture, this passage is given : And here we find, in what 
is termed the corrected text, (by Johnson and Steevens,) 
the wordjixure. I would ask, how is this to be recon- 
ciled, but that I deem either fixture or fixure equally 
corrupt. 

The organ of sight has three prominent features : the 
pupil, the eye-lid, and the eye-lash ; these are parts of 
the eye: but, what part of the eye is "the fixure ," and 
which " has motion in it ?" We may say, the fixing of her 
eyes so sternly on him, made him start; — for this speaks 
the action of the eyes : but, it is the open of the eye — the 
pupil, and its movement, that strikes Leontes with 
astonishment; for, we cannot suppose that Hermione 
could remain, as it were, inanimate, and free from agita- 
tion, on so trying an occasion ; and all must admit, that 
with the least movement of the head, the eye moves also. 
From these premises, I am convinced the text is corrupt, 
and that our Author wrote : 

The fissure of her eye has motion in't, 
As we are mock'd with art. 

The closing of the eye, and the opening of the eye, are 
terms too familiar to require comment : & fissure is a cleft 
or opening: therefore, Hermione's eyes being open, she 
could not prevent them from moving; and which was 
immediately observed by Leontes. 

I must again repeat, that no part of the eye can be 
called either the fixture or fixure. Two distinct powers 
belong to the eye, namely, the operation of opening and 
that of closing: as for fixing the eye on any object, it 
cannot be effected if the fissure be closed ; therefore, the 
fissure opens or closes, according to the influence of in- 
clination. 

l 2 



Matbttfi. 



ACT I. 

Scene I. — page 12. 

Third Witch. There to meet with Macbeth. 

This verse has occasioned a great diversity of opinion, 
Mr. Pope reads, — 

" There I go to meet Macbeth.'" 

And Mr. Capell overcomes the defect, by reading : 
" There to meet with brave Macbeth." 

On the opening of this scene, the Witches are about 
to separate ; but intend to rejoin about sun-set. Surely, 
then, as infernal agents can, with the thought, arrive 
at any appointed place, what necessity has this Witch 
to fatigue herself by setting-off so early on foot, as Mr. 
Pope would make her? 

Mr. Malone says — there ^ is used as a dissyllable! 
This is a bold hazard, and does not correspond with his 
customary penetration. 

The interrogative pronoun, and dividing the verse 
between the three Witches, is strongly over-ruled ; par- 
ticularly from this consideration, that, as the Witches 
know each other's mind respecting Macbeth, the inter- 
rogatory must display their ignorance. 

" When the battle's lost and won," 

is a sufficient indication that Macbeth was the object of 



MACBETH. 149 

their consideration. Why, then, say — whom? Had Mr. 
Steevens given this a thought, he must have been con- 
vinced, that his proposed emendation must injure the 
passage. In my opinion, it requires no great argument 
to convince, that our Author wrote, — 

There to meet and greet Macbeth. 

The compositor charged his memory with the verse, 
and having composed — to meet, omitted the words — to 
greet: the three terminating letters of each verb being 
the same : with this blunder, the proof sheet read, — 

There to meet Macbeth ; 

Which appearing defective, the very ingenious corrector 
added the word — with. 

The Witches are not only to meet Macbeth, but, also, 
to greet him as Thane of Cawdor, fyc. See Bancho's 
address to the Witches, in the third scene of this Act ; 
which is a convincing proof, that the Author Avrote as I 
have suggested : 

" My noble partner 



You greet with present grace.' 
And how far similarity of speech may be admissible 
between a King and a Witch, I shall not pretend to 
say; but, Duncan uses the same phrase, on ordering 
Rosse to announce the death of the rebel Thane of 
Cawdor, — 

" Go, pronounce his death, 

And with his former title greet Macbeth.'''' 



Scene II. — page 17. 

Soldier. And fortune, on his damned quarrel smiling, 
Show'd like a rebel's whore : 

The old copy has — damned quarry; but, which, 
through the influence of Dr. Johnson's opinion, was 
changed to the present reading. In my judgment, where 



150 MACBETH, 

only one error appeared before, the Doctor's influence 
has made two conspicuous. 

The soldier compares the royal, and the rebel armies 
to two expert swimmers ; who, after a long struggle to 
excel each other, are nearly lost : weakened and dis- 
spirited, unexpected relief comes to the one; while the 
other, with difficulty, reaches the shore. Thus far, the 
similitude of the two armies. 

Fortune, in war, is every thing. Prior to the arrival 
of fresh troops from the western isles, fortune remained 
an unconcerned spectator of the contest : but when the 
troops arrived, then she invigorated the desponding and 
wounded soldiery of Macdonwald : thus, then, — 

fortune, on his damped quarry smiling, 

Show'd like a rebel's whore : 

She embraced them all; so that the damped game got 
wing again; and, re-animated by fortune, would have 
overcome the King's party, but for the the valour of 
Macbeth, who boldly opposed the enemy, and subdued 
the rebel chief. 

To troops, that fought a length of time without gain- 
ing any advantage over the enemy, and saw their slain 
companions lying on the field of battle, and others dying, 
must not their courage be damped? — The transcriber 
wrote damned) instead of damped. 

It may be asked: — Is the word damned to be used by 
a private soldier in recounting circumstances to his king? 
particularly, as the phrase, damned quarrel, throws the 
reflection in the teeth of the King; as though he had 
wantonly quarrelled with his subjects. 

In Act IV. sc. iii. of this play, where Rosse recounts 
to Macduff the fate of his family, he says, — 
" to relate the manner, 



Were, on the quarry of these murder'd deer, 
To add the death of you." 



MACBETH. 151 



Scene II. — page 26. 

Rosse. Till that Bellonas bridegroom, lapp'd in proof, 
Confronted him. 

Bellona's bridegroom : Macbeth, who, cased in armour. 
was proof against the assaults of Cawdor. 



Scene III. — page 32. 

First Witch. I'll do, I'll do, and I'll do. 

The metre of this verse, I think, may be recovered. 
Perhaps, our Author wrote : 

But in a sieve I'll thither sail, 
And, like a rat without a tail, 
I'll do, I'll do, and I'll not fail. 

She will not fail to accomplish her evil intentions. 



Scene III. — page 48. 

Macbeth. This supernatural soliciting 

Cannot be ill ; cannot be good: — 

Cannot be ill; cannot be good. Then what can this 
supernatural soliciting amount to ? The text is corrupt. 
I am convinced the Author wrote : 

This supernatural soliciting 
Cannot be ill: — can it be good? 

Macbeth, reflecting on supernatural agency, debates 
with himself, whether evil or good may result from his 
credulity: — he is not, at this moment, the hardened 
villain; but, ambition spurring him on, he says, — If ill, 
" why hath it given me an earnest of success?" — here he 
pauses ; and taking in his mind's eye the horrid picture 



152 MACBETH. 

occasioned by ambition, he demands — Can it be good/ 
If good, " why do I yield to that suggestion whose horrid 
image doth unfix my hairf for, can good result from 
that which proceeds from evil ? 

The transcriber mistook the sound of the words from 
having just written cannot. 



Scene III. — page 51. 

Macbeth. Come what come may ; 

Time and the hour runs through the roughest day. 

This passage seems corrupt. An hour is a space of 
time, therefore, tautology. I am persuaded our Author 
wrote : 

Time and the honour runs through the roughest day. 

Macbeth, somewhat overcome by scrupulous fears, 
seems inclined to leave the event of being king to chance. 
" Happen what will," says he, even should the honour 
be mine; as time must run through the roughest day, 
so must time terminate my greatness. 

The compositor having composed ho, thought he had 
hono, from the o coming before ur; and thus, hour for 
honour. 



Scene V. — page 70. 

Lady Macbeth. 0, never 

Shall sun that morrow see ! 

This is a daring prediction; and false as the assertion 
is weak. However dark the intentions of Lady Macbeth : 
or, however far a wicked determination may have given 
her presumption to prophesy, that Duncan should not 
see that morrow's sun, we cannot suppose her weak enough 



MACBETH. 153 

to say, never shall sun that morrow see! Must not the sun 
see that morrow, and every morrow to eternity? Have 
her words power to change the system of nature ? — A 
phrase, so outrageous to common sense, never came from 
our Author's pen. — He certainly wrote : 
0, never 



Shall his sun that morrow see ! 

Figuratively : that Duncan's sun of life shall be extinct. 
The transcriber lost the pronoun his, by the hissing 
sound of the two s's; the one terminating the pronoun, 
the other commencing the substantive. A similar error 
has, hitherto, destroyed a beautiful figure in Antony 
and Cleopatra, Act IV. sc. xiii. where Cleopatra, in 
the monument, aided by Charmain and Iris, draw up 
the expiring Antony. During this melancholy exertion, 
Cleopatra is made to say, " Here's sport indeed:" — in- 
stead of saying, — Here's his port indeed. Thus, by the 
hissing sound of the s's, the transcriber lost the same 
pronoun. 



Scene VI. — page 74. 

Duncan. The love that follows us, sometime is our trouble, 
Which still we thank as love. Herein I teach you, 
How you shall bid God yield us for your pains, 
And thank us for your trouble. 

The King has expressed himself in very few words, 
but some of our Commentators have made a great deal 
of them. 

a Herein I teach you horn" appears as if the King had 
laid down, or was about to suggest, some principle that 
was to be pursued in future by Lady Macbeth. But, 
proper punctuation regulates the entire passage. 

Herein I teach you :- 



How? — You shall bid God yield us for your pains, 
And thank us for your trouble. 



154 MACBETH. 

This is a mode of interrogating too familiar to be mis- 
understood. The King both interrogates, and answers : 
He teaches, by giving her an opportunity to offer up 
prayers to heaven for his safety; — a task, which he 
considers will be pleasing; and for which she cannot fail 
to thank him. 



Scene VII. — page 83. 

Macbeth. 1 have no spur 

To prick the sides of my intent, but only 
Vaulting ambition, which o'er-leaps itself, 
And falls on the other. 

If the intent of Macbeth be compared to a horse, 
(which is Mr. Steevens' idea,) what has the sides of the 
animal to do with the opposite sides of either the road 
or bank of the ditch from whence it bounds ? The text 
says, — ''And falls on the other ." On the other, what? 
The text replies not to this question. In short, my 
predecessors say, that the Author has obscured himself, 
by a long-drawn metaphor: and after one has made 
Macbeth fall on the other side; and another made the 
rider fall under the horse; and also, made the spur over- 
leap itself; the conclusive note terminates with calling 
Shakspeare a careless writer. Now, I am confident, the 
obscurity of the passage must be attributed either to 
mistake of sound, by the transcriber, or the manuscript 
not being sufficiently legible, the compositor made the 
best he could of it. Under such conviction, I hesitate 
not to say, the Author wrote : 

I have no spur 



To prick the sides of my intent, but only 
Vaulting ambition, which o'erleaps itself, 
And falls on theory. 

Macbeth's intent is regal dignity : he has no spur, — 
i. e. no pure motive for aspiring to this, but only vaulting 
ambition: thus, as no virtuous principle, such as truly 
studying the improvement of the country, and happiness 



MACBETH. 155 

of the people, stimulates him ; he reflects, that his ambi- 
tious intent overleaps itself; L e. goes beyond the bounds 
of propriety ; and, therefore, unproductive of true hap- 
piness, his vaulting- ambition falls on theory. In other 
words: — the plan he has in view not promising that 
fruition which the practice of villainy seemed to offer, his 
4 - vaulting ambition over-leaps itself," and sinks into 
mere theory 7 

The words — the other, contain the first four letters 
which form theory ; and, by substituting a y for the, as 
repeated, we gain the true reading. 



ACT II. 

Scene I. — page 96. 

Macbeth. If you shall cleave to my consent, — when 'tis, 
It shall make honour for you. 

Though ingenuity has tortured these words of Macbeth 
to various meanings ; and, in my opinion, without any 
effect; I believe, not only his true meaning, but also 
the Author's words are obtainable by a very trivial 
alteration. 

In Macbeth's preceding speech, he pretends to dis- 
regard the prediction of the Witches ; as though he said, 
I never gave it farther consideration ; but, as such things 
are not impossible, now that you remind me of the 
Weird Sisters' strange prediction, — should such an event 
take place, — 

If you shall cleave to me constant, — when 'tis y 
It shall make honour for you. 

Thus, Bancho can have no suspicion of any treason 
on the part of Macbeth : nor does Macbeth want him to 
consent to any act derogatory to the principles of attach- 
ment displayed by Bancho for his king: but, on the 
contrary, leaving such an event to time and circurn- 



156 MACBETH. 

stances: — " When 'tis" says he, " if you shall cleave to 
me constant" by uniting your interest to mine; honour 
shall be your reward. 

The sound of me and my are nearly the same : consent 
and constant, exclusive of similarity of sound, are com- 
posed of nearly the same letters. 



Scene I. — page 102. 

Macbeth. thus with stealthy pace, 

With Tarquin's ravishing strides, towards his design 
Moves like a ghost. 

There are plenty of moving figures in this passage ! 
In two lines we have — stealthy pace, — ravishing strides ; 
and, the movement of a ghost!— All of which may be 
admitted, except the ravishing strides of Tarquin. A 
stealthy pace, is a cautious pace ; therefore, so light, that 
movement shall scarce be heard : — a ravishing stride, is 
bold and determined : — and, the movement of a ghost, 
slow and solemn. — How, then, can the combination of 
these movements be reconciled in one figure ? 

The old copy reads, — "With Tarquin's ravishing 
sides" Take away the first s in sides, and place an a 
before the terminating s, and you have the Author's 
words, — 

" With Tarquin's ravishing ideas." 

Thus, the hardened villain, with stealthy pace; his 
ideas fixed on murder, (as were the ideas of Tarquin to 
deflower the chaste Lucrece,) moves like a ghost towards 



his design. 



Scene II. — page 112. 

Macbeth. Sleep, that knits up the ravelVd sleave of care. 

With the information received from four Commen- 
tators on the words — ravelVd sleave, all we can learn is, 



MACBETH. 157 

that shave, means, "the ravelled knotty part of silk." 
Heath. "Silk that has not been twisted," — Steevens. 
u Coarse, soft, unwrought silk," — Maloxe. " Ravelled 
means entangled," — M. Mason. Surely, these expla- 
nations of ravelled shave cannot be considered as aids to 
unravel the passage? If the Commentators kneAv the 
application of the metaphor, why not say, that the 
ravelVd shave of care, meant — the brain ? — and which is 
compared to the ball of the silk- worm. This ball be- 
comes the insect's tomb, and wherein it remains, until 
the heat of the sun re-animates it: when it awakens trans- 
formed : — so with man, in sleep, all his cares cease, and 
when he awakes, it is with renovated vigour. 



Scexe II. — page 133. 

Macbeth. Here lay Duncan, 

His silver skin lac'd with his golden blood. 

Doctor Johnson says, — "No amendment can be made 
to this line, of which every word is equally faulty, but 
by a general blot." Doctor Warburton reprobates it 
with equal acrimony, and calls it — "an unnatural mix- 
ture of far-fetched and common-place thoughts." I shall 
not cast a reflection on the opinions of those great cha- 
racters ; but cannot avoid saying, that a silver shin has 
ever been considered a poetical beauty; as also golden 
blood; and, that the Author evidently designed an an- 
tithesis in this passage. As for the word fecV, it is 
corrupt, and owes its long continuance in our Author's 
plays to the person who recited to the transcriber : and, 
surely, for his blunder, and want of penetration in the 
Critics, the Poet's fame should not be tarnished ! our 
Author, unquestionably, wrote: 

-Here lay Duncan, 



His silver skin lacked with his golden blood. 
Lacked, the contraction of lackered; i. e. varnished : 
The blood which flowed from Duncan's wounds had 



158 MACBETH. 

spread over various parts of his body, and, having dried 

thereon, his silver skin appeared as if lackered with a 

golden varnish. A passage in Act II. sc. ii. gives the 

same figure, and will prove, perhaps, a more satisfactory 

illustration, — 

Lady Macbeth. » " If he do bleed, 

I'll gild the faces of the grooms withal." 



Scene III. — page 134. 

Macbeth. — their daggers 

Unmannerly breech'd with gore. 

This passage has occasioned deep researches ; but, in 
my opinion, to little effect. The allusion, however, is 
simple, and sufficiently familiar. 

Though Macbeth retains his own dagger about him, 
(as we learn from his soliloquy,) yet, as he returns, after 
murdering Duncan, with a dagger in each hand, and which 
belonged to the two grooms, who slept near the King, 
we must conclude these to have been the instruments 
with which he committed the bloody deed. The figure, 
then, which Macbeth draws, he derives from experience. 
In the act of stabbing Duncan, he held a dagger in each 
hand; striking with both at the same time. In plunging 
each dagger into the body, it penetrated but deep enough 
to receive blood half-way up the blade; and, as his 
bloody business required expedition, he drew the daggers 
out with quickness, and repeated his strokes again and 
again, until death secured his victim. Thus, the two 
daggers being but half-way covered with blood, and that 
blood congealed, half the steel remained unstained. Now 
the comparison is this ; Macbeth views them, as he would 
a man, who had drawn a pair of breeches but half-way 
on. The elucidation of this passage demands inexpres- 
sible delicacy; the increased refinement of the present 
age forbids me to enlarge on that which, in our Author's 
time, would scarcely have been deemed an objectionable 
simile. 



MACBETH. 159 

Scene lll.—jmge 136. 

Donalbain. Where our fate, hid ivithin an augre-hole. 

I do not think the present error attributable to the 
compositor, but, to the transcriber. The old copy reads, 
" hid in an augre-hole." The transcriber lost the ter- 
minating syllable of the participle hidden. In sounding 
the word hidden, one d was lost; and the terminating en, 
became also lost in the stronger sound of the word in 9 
which followed. We should read : 

Where our fate, hidden in an augre-hole. 



ACT III. 

Scene I. — page 158. 

Macbeth. Within this hour at most, 

I will advise you where to plant yourselves. 
Acquaint you with the perfect spy o'the time, 
The moment oivt; — 

On the various and unqualified explications given of 
this extraordinary passage, I shall be silent ; merely ob- 
serving, that, in its present corrupt state, all elucidation 
has been thrown away. 

The reader can scarcely be reminded too often, that 
most of the errors in these plays arise from mistake of 
sound; (the transcriber having written as another person 
recited,) and from bad manuscript (the printer's term) ; 
for, where the compositors met with erasures, blots, 
and interlineations, or any jumble of words, not suffi- 
ciently legible, and not familiar to comprehension, they 
were compelled to make the best sense the characters 
could produce, leaving the corrector of the press to 
determine its value. But correctors are often as much 
astray as compositors ; and, if an author does not read 



160 MACBETH. 

the proofs of his own work, before it goes to press, he 
may expect blunders. 

Before I correct the passage, it is necessary that I 
make a few observations. Macbeth tells the murderers 
to meet him within an hour, when he will tell them where 
to plant themselves. Now, are we to suppose that these 
murderers were acquainted with the various avenues, 
entrances, windings, &c. of the Park ? Could they know 
at which gate Bancho would enter ? Certainly not : nor 
are we to suppose that this was more than the second 
time they had been within the court of Inverness. Of 
all this Macbeth is well aware, and therefore he pro- 
vides accordingly. 

Now, as the murder is to be perpetrated near the 
inner court of the Palace, it becomes necessary, for two 
reasons, that the murderers should be made acquainted 
with the different avenues leading towards it; first, that 
when Macbeth advises them where to plant themselves, 
they may know the particular place from his description 
of it ; for, it is not to be supposed that Macbeth would 
be so incautious as to be seen walking about his park 
with these suspicious looking characters; for, should 
they be taken in the sanguinary deed, the instigator of 
it would be conspicuous : and, secondly, that when the 
murder is perpetrated, the avenue to escape by, may be 
familiar to the murderers. These are the present 
objects of Macbeth's consideration ; and, that they may 
make themselves acquainted with the different avenues, 
entrances, &c. he gives them an hour to make the 
necessary observations ; during which time, he will en- 
deavour to learn by what road Bancho will return. 

That the Author's original corresponded with the 
above necessary considerations, I am convinced; and to 
obtain which, I am eqally convinced he wrote : 



Within this hour at mosi 



I will advise you where to plant yourselves, 
Acquaint you with the precincts by the time: 
The moment on't. 



MACBETH. 161 

i.e. Make yourselves acquainted with the precincts of 
the castle by that time : — go about it immediately. 

Thus, the verse maintains its due measure. 

In the First Part of King Henry VI. Act II. sc. i. the 
?ame word is used, in alluding to a particular boundary : 

Charles. " And for myself most part of all the night, 

Within her quarter, and mine own precinct, 
I was emplo.y'd in passing- to and fro, 
About relieving of the sentinels." 

The words — precincts hy and perfect spy, are composed 
of nearly the same letters, and have the same number: 
but the word precincts was unknown, or not familiar to 
the compositor, and, probably, having been, at first, 
equally so to the transcriber, he, in correcting, blotted 
the words, and thus created an insurmountable difficulty 
to the compositor. 

To the introduction of the word — perfect, this passage 
owes all its imperfections ; for, had precincts been in- 
serted, instead of perfect, the intention of Macbeth would 
have been understood, though some of the words in suc- 
cession remained incorrect. 



Scene I. — page 158. 

Macbeth. And something from the palace; always thought. 
That I require a clearness: And with him, 
(To leave no rubs, nor botches in the work,) 
Fleance, his son, that keeps him company. 

This passage, when corrected, strengthens the restor- 
ation and illustration of the preceding : the corruptions 
in both passages seem to have arisen from the same 
cause, namely, a cloudy manuscript, and of which the 
compositor endeavoured to make the best sense he pos- 
sibly could : I read, — 

And something from the palace; a way, though, 
That I require a clearness-. 

M 



162 MACBETH. 

Meaning: Let it be some small distance from the 
palace ; but, at a place from whence you may immediately 
effect your escape ; for, should you be taken, having been 
seen here, suspicion would fall on me, that I hired you 
to slay them; therefore, I require a clearness. 

Thus, the phrase — a way, though, becomes linked to 
the antecedent and subsequent parts of this speech. 

Three superfluous letters have been introduced to 
render this passage corrupt : an /, an s, and a t. Which 
in the copy were nothing more than false flourishes, (a 
practice common with many writers at the termination 
of each word,) but taken by the compositor for letters. 
Any person who thinks proper to try the experiment by 
turning the terminating part of the a round and rather 
elevated, will find it to resemble an /: the y in alway, by 
giving a curl round, which is common, will have the ap- 
pearance of an s; and the //, by bringing the round stroke 
quick, and a second down-stroke, has the appearance of an 
imperfectly formed t. — To one who has had a variety of 
manuscripts through his hands, the manner in which such 
errors took place, is obvious. 



Scene VI. — page 196. 

Lenox. Who cannot want the thought, how monstrous 
It was for Malcolm, and for Donalbain, 
To kill their gracious father ? 

This passage seems corrupt : I am inclined to think, 
our Author wrote : 

Who care not, want the thought, how monstrous 
It was for Malcolm, and Donalbain, 
To kill their gracious father. 

i. e. Those who are indifferent about the matter, never 
reflect how monstrous it was for Malcolm and Donalbain 
to kill their gracious father. 



MACBETH. 163 

Scene VI. — page 197. 

Lord. Give to our tables meat, sleep to our nights; 

Free from our feasts and banquets bloody knives: 

The word— -free, as in this passage, means — banish : 
transposition is unnecessary. 



ACT IV. 



Scene I. — page 201. 
Second Witch. Thrice; and once the hedge-pig whin'd. 

Both Mr. Theobald and Mr. Steevens, mistook the 
force of this passage : — When the second Witch spoke, 
the hedge-pig had whin'd but once : — To explain this, see 
the subsequent note. 

Thrice : alludes to the brindled cat. 



Scene I. — page 202. 
Third Witch. Harper cries: — 'Tis time, 'tis time. 

. In this scene we perceive a cauldron, in which, it 
must be supposed, are various ingredients towards com- 
posing an infernal broth. In the progress of this magi- 
cal preparation, the Witches await certain signals : the 
mewing of the brindled cat three times, is the first. The 
hedge-pig has wkin'd once : but before the Witches can 
proceed in their infernal ceremony, the hedge-pig must 
repeat its cries, to make the magical number — thrice, 
and which they await. Scarcely hath the second Witch 
finished her observation, that the hedge-pig had wkin'd 
once; when that animal whines again and again: this 
is the critical moment for the Witches to proceed in 
their infernal ceremony; and, immediately, the third 
Witch exclaims: 

Hark, her cries!— 'Tis time 'tis time. 

31 2 



164 MACBETH. 

Then they go round about the cauldron and throw in 
the additional ingredients. 

It is almost unnecessary to say, that the transcriber, 
who wrote as another person recited, mistook the sound 
of the words, and, for — Hark her, wrote — Harper. 

Mr. Steevens thinks Harper is some imp, or familiar 
spirit! but, in my opinion, Mr. Harper was as little 
known to Sliakspeare, as to any of his Commentators. 



Scene I. — page 216. 

3V1 . cBETH. And thy hair 

Thou other gold-bound brow is like the first : — 

Through the incantation of the Weird Sisters, eight 

O 7 O 

persons appear : to denote that they will be kings, each 
wears a crown. Now, surely, a crown must so cover 
the hair, that Macbeth, in his present agitated state, 
would not pay attention to any scattered locks, or regard 
the colour of the hair ! 

A succession of eight kings originate from the loins 
of Bancho ; each king is heir to his predecessor. The 
first having passed, his heir follows. Is it not, then, 
most likely, that the transcriber wrote hair (an integu- 
ment of the head,) instead of heir, a successor? The 
first king, is like the spirit of Bancho. — Observe, u like 
the spirit of Bancho;" he is a striking likeness of what 
Bancho was, when living : — thus, as the first king is like 
Bancho; the second king, (his heir,) is like the first; the 
third, is like the former ; and so on, is each successive 
heir : — all known to Macbeth, to be of the race of Bancho, 
from the very strong resemblance they bear to their un- 
fortunate progenitor. 

The colour of the hair is an object of too little con- 
sideration to attract Macbeth's notice at such a juncture ; 
nay, it is weak and frivolous: whereas, a descendant, 
known, by his majestic form, to be like his great ancestor. 



MACBETH. 165 

whose heir he is, conveys a lofty sound, and is a striking 
picture of legitimate royalty. 



Scene II.— vase 224 



:- 



Rosse. But fioat upon a wild and violent sea, 
Each way, and move. — 

This metaphor compares Scotland, under the dominion 
of Macbeth, to a wild and violent sea: the subjects, as 
despairing mariners, lost to every hope. Thus far we 
can keep pace with the text; but what are we to do 
with — iw Each way and move?" — I shall continue the 
metaphor, according to words which I shall substitute, 
and which, I am persuaded, must have been the Author's. 

In this perilous and lamentable state, expecting every 
moment to be ingulphed, despairing moans, wailing, and 
lamentation, issue from the unfortunate sufferers; and 
friendship forgets friends in its own sorrows. To gain 
a corresponding idea from the text, I read : 

But floating on a wild and violent sea ; 
Each wail and moan. 

When Macduff visits Malcolm, in England, he draws 
a picture of Scotland's misery, which gives strong au- 
thority to this correction : 

" Each new morn, 

New widows howl; new orphans cry; new borrows 
Strike heaven on the face, that it resounds 
As if it felt with Scotland, and yelVd out 
Like syllable of dolour." 

To which Malcolm replies, — 

"What I believe I'll wail;" 

And again, in the same scene, Rosse says, — 

"Where sighs, and groans, and shrieks that rent the air, 
Are made, not mark'd.'' 

The transcriber lost the /, in wail; from its heing 
followed by and, it sounded as way land. Moan, was 



16(i MACBETH. 

spelt' morie, and the n, u, and v, in old writings, were, 
generally, as the w, in present use : our nice distinction 
of these three letters was not then observed. 



Scene II. — page 257. 

Macduff. This avarice 

Sticks deeper; grows with more pernicious root 
Than summer-seeding lust. 

As all my predecessors concur in support of Sir 
William Biackstone's emendation, it may appear pre- 
sumptuous in me to hazard a doubt of its authenticity; 
but, as the literary field is open to all, I must beg leave 
to make my observations. Avarice and lust are both 
sins; both turbulent passions; and, inherent in most 
men : figuratively, both are slips from the great tree of 
evil; and, so ingrafted in man, that, instead of curbing 
their growth, — passion, the cultivator, is suffered to suit 
the soil to the slips; which taking root, and branching out, 
overspread the natural inheritance of reason. But these 
pernicious roots, though equally strong, are not of equal 
durability; the one exists but for the summer of life; 
and, on its decay, the other strengthens, and even poisons 
that vital moisture which man should sweeten in the 
winter of his age. 

Avarice and lust are, therefore, considered by Macduff, 
as pernicious roots; in other words, destructive sins; 
which, while they exist in man, prove the bane of wis- 
dom: "Avarice," says he — 

Sticks deeper; grows with more pernicious root 
Than summer-sinning lust: 

And why ? Because the sin of avarice takes deeper 
root in man, according as he advances in the frosted 
winter of his age : whereas, the sin of lust lasts only 
during the summer of his life. 



MACBETH. 167 

In a preceding- speech, Malcolm says, Macbeth " smacks 
of every sin that has a name;" but, at the same time, he 
professes himself to be a greater sinner; particularly, 
in the sins of lust and avarice. That of lust, Macduff 
would palliate; and prove more venial, as being a 
summer-sin, attached to man but during the glowing 
season of his life ; bit't, that — 



Avarice 



Sticks deeper; grows with more pernicious root 
Than summer-sinning lust : 

I shall now make a slight observation on — "sum- 
mer-seeding lusty There are two periods in the year 
called the seeding seasons ; the one for sowing seed; the 
other, — the shedding of seed. What moral ear, — what 
ear accustomed to delicacy, can reconcile the idea which 
either of these convey, before the word — lust? 

The old copy reads — "summer-se^/wg* lust." Let 
any person write the word — sinning, and omit the dot 
over the first i, (which is frequently neglected by all 
writers,) and it will be found as much like seeming, as 
sinning. 

I am confident our Author wrote — summer-sinning 
lust. At least, some modern critic must convince me to 
the contrary, by more cogent reasons than my predeces- 
sors have advanced, in their defence of Sir William 
Blackstone's emendation. 



Scene II.— page 238. 

Malcolm. Nay, had I power, I should 

Pour the sweet milk of concord into hell. 

I am quite of Mr. Malone's opinion, that he has made 
t-oo strained an interpretation of this passage. That the 
text is very corrupt, I hope to prove ; though I cannot 
refrain from smiling at Malcolm's consideration for the 
inhabitants of the infernal regions; who, if he had the 



168 MACBETH. 

power, would Pour the sweet milk of concord into hell, and 
thereby render the subjects of Lucifer peaceable and 
quiet; and establish a good understanding- where, 
hitherto, there has been discord; weeping, wailing, and 
gnashing of teeth. 

In the present passage, we behold the mischief and 
confusion which a single letter produces. Our inimi- 
table Author wrote : 

Nay, had I power, I should 



Sour Wig sweet milk of concord into hell, 

Thus, we gain the designed antithesis. Elucidation is 
almost unnecessary. Had he power, he would change 
concord into discord: — what was sweet on earth, he 
would sour, to gratify his baneful passions ; and, thereby, 
make this fair world a hell. 

In Richard II. Act III. sc. ii. we have a similar 
antithesis : 

" Speak sweetly , man, although thy looks he sowr." 

Again, Act V. sc. v. — 

" How sour sweet musick is." 



Scene II. — page 241. 

Malcolm. And the cha?ice, of goodness, 

5e like our warranted quarrel ! 

Dr. Johnson, whose discrimination was great, observes, 
cm this passage, " If there be not some more important 
error, it should, at least, be pointed thus." Accordingly, 
his punctuation has been adopted. 

In a matter of such importance as the text of 
Shakspeare, the opinion of an individual is no standard; 
the literary world must judge. In this passage, then, 
I am but merely of opinion, that the Author's MS. 
read: 



MACBETH. 169 

Now we'll together. And the chain of goodness 
Be-Unk our warranted quarrel! 

By * : the chain of goodness," he means, the influence, 
or protection of heaven; and, that as the tyrant, 
Macbeth, has occasioned both their sufferings, he prays, 
that their hearts and military powers may be linked 
together, in order to avenge their common cause. 

The word chain, was formerly spelt chaine: if the dot 
be omitted over the i, in writing the word chaine, it will 
be found as like chance, as if expressly designed for that 
word. — Be-like and Be-Unk only vary in one letter. 

I know not whether we have an example of the word 
he-link in our Author's works; but it seems as good a 
word as he-gird. 

Any literary gentleman who can furnish an example of 
the use of he-link, will, I think, render the passage a 
service. 



Scene II. — page 252. 

Malcolm. This tune goes manly. 

The folio reads — "This time goes manly." — Tune is 
the musical emendation of Mr. Rowe. 

Macduff's sorrow has just made him exclaim, — 

" 0, / could play the woman with mine eyes." 

During this effusion, time moved weak and womanly 
with Macduff: but having repelled his sorrow, by calling 
up manly fortitude, and seeing a prospect of revenge, he 
invokes heaven, to cut short all intermission of time be- 
tween him and the hour of revenge ; that, front to front, he 
may measure swords with the tyrant. — This revolution 
of mind displayed by Macduff's words and actions, so 
perfectly correspond with Malcolm's wishes, he testifies 
his approbation, by figuring time as having changed his 
pace from the feeble steps of sorrow, to the bold movement 



170 MACBETH. 

of an intreped warrior. However, there appears an error 
in the word — This; I am almost certain the Author's 
original read : — 

Thus, time goes manly. 
The correction is simple, but the sense material. 



ACT V. 



Scene III. — page 265. 
Macbeth. I have liv'd long enough : my way of life. 

In the year 1745, Dr. Johnson published some remarks 
on Shakspeare; this passage, he observed, should read, 
"my May of life;" and ever since that period it has 
occasioned strong controversy. That way is the true 
reading, there can be no doubt ; but a trifling error has 
vitiated the sense. 

Macbeth, in the May of his life, flourished : he was 
honoured by his king, and respected by his friends : In the 
autumn of his life, iniquity caused him to be universally 
abhorred ; and, now entering into the winter of his life, 
when, like the yellow leaf that has lost its sap, the animal 
juices decay in him, he expects, that even should he live, 
neither honour, love, obedience, nor friends will help to 
smooth the way that leads him unto death, and calls him 
off the stage of life : viewing, then, nothing but ruin 
before him, he prefers death, and exclaims,— 

I have liv'd long enough : my way off life 
Is fallen into the sear, the yellow leaf. 

Thus, his way off (from) this life to eternity, should 
he live, promises nought but gloom ; and that brightness 
with which a virtuous man is cheered in his declining 
years, when passing off from life to death, he cannot 
expect; but, like the yellow leaf trembling at every 
blast, must fall — and fall disregarded. 



MACBETH. 171 

Scene III. — page 271. 

Macbeth. Cleanse the stuff' d bosom of that perilous stuff, 
Which weighs upon the heart. 

The hissing sound of the s in the word perilous before 
t, in the word tuft, deceived the transcriber, who having 
so lately written — stuffed; his ear with greater facility 
received the impression. Our Author wrote : 

Cleanse the stuff'd bosom of that perilous tuft, 
Which weighs upon the heart. 

Macbeth feels, that guilt has stuffed his own bosom, 
and that the oppressive weight, now lodged upon his 
heart, seems as a knotty tuft ; the perilous influence of 
which, (conscience,) has caused his mind to become rather 
diseased; and, he is well convinced, that from the same 
cause originates the confirmed malady of mind under 
which Lady Macbeth labours. 

It would appear, that he alludes to Lady Macbeth : 
her indisposition, certainly, occasions the observation: 
but he speaks indefinitely. — See the commencement of 
this speech: — However, from what he afterwards ob- 
serves, we may infer that he seemed to think he also 
wanted physic. 



Scene III. — page 275. 

Macduff. Let our just censures 

Attend the true event, and put we on 
Industrious soldiership. 

On whom are their just censures to fall ? Macbeth is 
out of the question : and, surely, when Malcolm says — 
" None serve the Usurper but those who are constrained, 
and whose hearts are absent too," — no censure can be 
< attached to. them: their hearts being with Malcolm, 
though their arms are compelled to oppose him: but 
highly imbecile, indeed, is the sense we obtain from the 
present corrupt reading. 



172 MACBETH. 

" The second folio" Mr. Malone says, " has arbitrarily 

changed the passage:" however, with all its errors, it 

seems to have had a tolerable correct copy for this 

play. — It reads : 

■ " Let our best censures 

Before the true event, and put we on 
Industrious soldiership." 

The Roman legions, which consisted of five thousand 
men each, were (as all military bodies are) divided into 
companies : each company was composed of one hundred 
men; the company called a centure, — the officer, a 
centurion. 

Following the military regulations of the Romans, 
and with which the Scottish chiefs were well acquainted, 
Macduff has divided his forces; and, in addressing- 
Malcolm, says — a Let our best centures before!" i. e. Let 
our best companies go in advance, and attack the fortress : 
at u the true event " — that is, at the grand onset, which 
must decide the battle, " put we on" says Macduff, 
'• industrious soldiership!" — i. e. Let us display that un- 
daunted courage which our cause demands, and which 
befits experienced generals. 

Accordingly, the best centures go in advance to attack 
the fortress of Dunsinane. — See Act. V. sc. vi. where 
Malcolm says, — 



You. worthy uncle. 



Shall, with my cousin, your right-noble son. 
Lead our first battle: Worthy Macduff, and we, 
Shall take upon us what else remains to do, 
According to our order."' 

This is the very arrangement that Macduff proposes : 
The best centures are the British troops, under the com- 
mand of old Siward. - 

By glancing at the passage, as extracted from the 
second folio, and comparing it with the following, as 
corrected, and which the more enlightened the critic, 
the more he will be convinced Avas the Author's text, it 
will be found, that the second folio contains but one 



MACBETH. 173 

literal error, — an s for a t, and that it requires but a 
colon after the word — Before. 



-Let our best centures 



Before: — The true event, and put we on 
Industrious soldiership. 

Or, more immediately to correspond with parallel pas- 
sages, we, perhaps, should read, — centuries. 

Great, indeed, is the difference between the words — 
best and just, and much greater between — attend and 
before! so great, that neither transcriber nor compositor 
could make the mistake. But these alterations were 
made, from the very unmeaning state of the passage, 
with the word censures, instead of centures, or centuries. 

I believe, that in many parts of these plays, the same 
word occurs : In Coriolaxus, Act I. sc. vii. we have. — 
• ; If I do send, despatch 



Those centuries to our aid:"' 

which Mr. Steevens thus elucidates ; Those centuries, — ■ 
i. e. companies consisting each of a hundred men. 

And again, Act III. sc. ill. — 

" The centurions and their charges distinctly billeted."' 

Should the word centuries be deemed more correct, an 
additional i will make the passage be seen clearer. 



Scene V. — page 277 '. 

Macbeth. She should have died hereafter, 

There would have been a time for such a word. 

Some of my predecessors say, this passage is corrupt : 
others, that it is a broken speech. In my opinion, the 
punctuation only wants correcting. We should read, — 

She should have died : Hereafter, 

There would have been a time for such a word. 

Meaning: that she should die one time or another; but, 
that, hereafter, he would have been better prepared to 
meet so great an affliction. 



IWttS Wofyn. 



ACT I. 

Scene I. — page 359. 

Faulconbridge. — Now your traveller, — 

He and his tooth-pick at ray worship's mess; 
And when ray knightly stomach is suffic'd, 
Why then I suck my teeth, and catechise 
My picked man of countries. 

Though the custom of using a tooth-pick at table, has 
been received as an elucidation of this passage, I cannot 
think that Shakspeare meant it literally , but adapted it 
as a suitable title for such condescending gentlemen of 
reduced fortune, or no fortune at all, with whom a patron 
can make as free as with his tooth-pick. A character 
of this description, is generally a copier of fashions; 
a retailer of anecdotes ; and, who, for scarcity of news, 
will not hesitate to advance, as sterling, whatever his 
own inventive powers can produce. Such a character 
seems to come under that class alluded to by Green, in 
his "Defence of Coney -catching" and whom he calls, 
a Quaint, picWt^andneat companions, attired^c. a-la-mode 
de France/'' and, who, according to Sir W. Cornwallis, 
seem to have had a phraseology peculiar to themselves. 
See Mr. Toilet's note on this passage. 

According to the present text, Faulconbridge, in his 
soliloquy, particularizes but one object at his mess; 
whereas, our Author, I am convinced, designed two : 
namely, the Traveller with whom Faulconbridge is sup- 
posed to converse about "the Alps and Appenines ;" but 
whom he quits, that he may such his teeth and catechise 



KING JOHN. 175 

the pick y d man, (not of countries) but — of courtesies: that 
is, a courteous, obsequious character, (probably the 
tooth-pick), who supports a conversation of compliments; 
such as extravagant folly authorizes : — for instance — 

Question. " My dear sir, I shall beseech you. 
Answer. " sir, at your best command; at your employ- 
ment ; at your service ; sir, at yours .'' 

Thus, with the picked man of courtesies, (who never 
contradicts,) a dialogue of compliment is maintained; 
and, with the traveller, in "talking of the Alps and 
Appenines, the Pyrenean and the river Po," 

If he would catechise of countries, why commence a 

dialogue of compliment? or, why expect answers from a 

traveller ,- and such answers to be regulated on the system 

of an a, b, c, book? A traveller, though he may have 

imported with him to his own country, all the fopperies 

and follies of the continent, may, nevertheless, be a man 

of information, and give satisfactory answers to questions 

asked on foreign manners, customs, and countries. I 

am certain our Author read: 

And catechise 

My picked man of courtesies. — My dear sir, &c. 

Countries and courtesies, are not unlike in writing : the 
compositor took the most familiar word. 

But, farther : with the word — countries, the verse is 
defective, whereas, courtesies, gives it due measure. 



ACT II. 
Scene I. — page 383. 
Kikg Philip. It ill beseems this presence, to cry aim. 

From the tenor of the subject, and the strong rebuke 
which Philip's words convey, I am incliued to think our 
Author wrote : 

It Hi beseems this presence, to cry, shame. 



176 KING JOHN. 

Thus, we obtain a reading that requires no elucida- 
tion; nor does it admit of controversy, the sense being 
obvious. 



Scene II.— page 393. 
First Citizen. King\d of our fears; until our fears, resolv'd, 

Notwithstanding much labour has been used to eluci- 
date this passage, I think it both corrupt and incompre- 
hensible. Our Author's word must have been kind: 



we do lock 



Our former scruple in our strong barr'd gates : 
Kind of our fears; until our fears, resolv'd, 
Be by some certain king purg'd and depos'd. 

Kind, i. e. a-kin. Thus, the figure is immediately re- 
conciled. The citizens are alarmed; they know not to 
which party they should, with confidence, open their 
gates, so as to be secured from the calamities of war. 
The gates of Angers, equally afraid of the city which 
they protect, will also resist any powers that oppose 
them ; and, until the conquest of one party or the other, 
the gates will keep steady to their trust. 

The transcriber mistook the sound of the word; and, 
as there were two kings present, made king'd, instead 
of kind I 



Scene 1. — page 401. 

Elinor. urge them, while their souls 

Are capable of this ambition: 
Lest zeal, now melted by the windy breath 
Of soft petitions, pity, and remorse, 
Cool and conceal again to what it was. 

Too scrupulous an adherence to words legalized by 
sound, has often induced our Commentators to labour 
with infinite toil to force a meaning, even where mean- 
ing was irreconcilable to common sense ; but labour was 



KIXG JOHN. 177 

not to be thrown away; and parallelisms were to suffice 
for explication : however, I see none sufficiently strong 
to reconcile the present corrupt reading. 

The king" of France, at peace with England, disregards 
the illegal tenure by which John holds the sovereignty. 
Repeated were the supplications of Constance in right 
of her son ; to all of which, Philip was frigid. Zeal 
springs from the heart ; but the heart of Philip was 
frozen. At length, however, the whining breath of soft 
petitions, and the legality of Arthur's claim, melted 
Philip's heart: he relented; he became the advocate of 
Arthur's rights ; ~vvas zealous in his cause ; and, finally, 
took up arms, determined to dethrone the Usurper. In 
this state of glowing ardour, a proposition is made by 
John, to which Philip listens; but, however apparently 
advantageous, his zeal is not cooled ; and Elinor per- 
ceiving this, and anxious that it should cool, nay, congeal 
to what it was, before the persuasive eloquence of Con- 
stance softened him to pity, she urges the advantages that 
may result from the proposed alliance, and says, — 

Let zeal, now melted, by the windy breath 
Of soft petitions, pity, and remorse, 
Cool and congeal again to what it was. 

Thus, she tells Philip to " Let that zeal cool and con- 
geal again to what it was" before the whining breath of 
Constance melted it to pity; for, before that, he was 
zealous in the cause of King John, and frigid to the 
claims of Prince Arthur. 

The word — Let, was spelt lett ; the compositor took the 
first t for an s. 

But though the word windy produces a meaning, yet 
I am not altogether satisfied that it came from our 
Author; — breath, is wind; and thus, we have windy wind. 
Besides, a windy breath, (if such a phrase can be recon- 
ciled,) denotes violent exertion of the tongue, and by no 
means corresponds with soft petitions. I certainly think 
our Author wrote — whining breath; which is perfectly 
adapted to the speaker. 

N 



178 KING JOHN. 



Scene I. — page 41 3. 

Constance. I will instruct my sorrows to be proud; 

For grief is proud, and makes his owner stout, 

This is, indeed, a stout attempt at emendation; and 
which, from Dr. Johnson's note, I find to have been 
made by Sir Thomas Hanmer ; I shall not animadvert, 
but regret very much, that in so many instances, where 
the text has suffered by transcribers and compositors, 
that learning and genius, because they have not been 
able to remove the veil of obscurity, have licentiously 
attached those errors to our Author. The old editions 
have — "For grief is proud and makes its owner stoop." 
Mr. Malone is satisfied to make its owner stoop; but, I 
am of a contrary opinion; being convinced, that our 
Author made the party stoop who caused the affliction, 
I read: 

I will instruct my sorrows to be proud ; 

For grief is proud, and makes its donor stoop. 

Afflictions, occasioned by oppression, swell the heart 
with dignified resentment. Constance feels this, and 
even encourages her sorrows to be proud. It is fallen 
greatness striving to gain a victory by the proud elo- 
quence of unrestrained affliction : It is an effort which 
despair impels to torture the heart that has inflicted the 
wound; and thus, in the excess of grief, Constance is 
determined to remain. — u Here is my throne" says she, 
^bid kings come bow to it." — Meaning: the Kings of 
England and France; particularly the latter, who, by 
his breach of promise, hath given her this weighty cause 
for grief. Should he pass that avenue, then, as she 
expects he will, Constance, in the dignity of proud grief, 
is determined to spurn whatever consolation he may 
sloop to offer ; and thus, he, the donor of that grief, is 
made to bow or stoop , in order to console her whom his 
tyeach of faith has afflicted. 



KING JOHN. 179 

\ 

Scene I. — page 415. 

Constance. here I and sorrow sit; 

Here is my throne, bid kings come bow to it. 

If sorrow be personified and made the partner of her 
throne, we should read— "Here is our throne." But 
I am inclined to .think, our Author wrote: 



here I in sorrow sit; 



Here is my throne, bid kings come bow to it. 

Meaning : that she would seat herself in the majesty 
of proud grief, and spurn all consolation. Sorrow's 
throne is elsewhere, — in her heart : therefore, sorrow, 
thus personified, cannot be seated on two thrones at the 
same time. 

If sorrow be seated by her, sorrow is only near her ; 
but, seated in sorrow, she displays it in her words and 
actions. 



Scene I. — page 427. 

Constance. Lewis, stand fast; the devil tempts thee here, 
In likeness of a new untrimmed bride. 

Lewis has just declared sentiment contrary to the 
wishes of Blanche, his wife; and, as he is the first who, 
to avoid the weighty maledictions of Rome, is desirous 
to break the recently-established league between France 
and England, Constance stimulates him to stand fast to 
his purpose, and not let the devil tempt him, in the likeness 
of an untrimmed bride, to waver in his determination ; 
for, that the influence of the Holy See would strip King 
John of his present royalty. Where, then, would be 
the great dowry Lewis was to receive with his wife ? 
At present, he has only the promise of five provinces, 
and thirty thousand marks of English coin ; therefore, 
as the dowry has not been paid, Blanche is still an 
untrimmed bride ; nor can she be trimmed, until the con- 
ditions be fulfilled on the part of England. See Blanche's 
observation in the subsequent speech. 

N 2 



180 KING JOHN. 

The Lady Constance speaks not from her faith, 
But from her need. 

Meaning : that Constance speaks not what she thinks, 
but what she wishes : and which is, that the Pope's in- 
fluence may dethrone King John : consequently, Blanche 
must still remain an untrimmed bride. 



Scene I. — page 431. 

Pandulpk. France, thou may'st hold a serpent by the tongue, 
A cased lion by the mortal paw, 
A fasting tiger safer by the tooth, 
Than keep in peace that hand which thou dost hold. 

The old copies reads cased, — as in the text : but most 
modern Editors read — chafed. To chafe, is to make 
angry ; — chafed, as an adjective, conveys no idea how a 
lion becomes chafed: the reader is, therefore, in the 
dark ; he knows not whether it proceeds from violence 
or exercise. A cased lion is often rendered familiarly 
tame; and, no doubt, in many instances, has suffered 
itself to be taken by the paw : hence, it is highly proba- 
ble, that a person might take a cased lion by the paw 
with impunity. But where is the temerity that would 
hold a chased lion by the paw, and not immediately 
experience its mortal power? Of the effects of such 
rashness, shuddering fancy may form an idea; and such 
was, I am certain, the original terrific picture our Author 
imagined. 

The transcriber mistook the sound of the word. Cased 
and chased are nearly alike ; an h is the only difference 
even in the spelling. Besides, we are to consider a 
cased lion to mean, a caged lion : and, for my part, I never 
heard that case and cage were synonymous. 

Mr. Steevens says, — u A cased lion, is a lion irritated 
by confinement." I believe those who exhibit lions 
become so familiar with them, that they may take them, 
with confidence, by the paw. 



KING JOHX. 181 

Scene I .—page 432. 

Paxoulpii, For that, which thou hast sworn to do amiss, 
Is not amiss when it is truly done. 

This passage is designedly enigmatical. Pandulph 
means — What you have sworn to do, under the con- 
viction of doing right, is not amiss, though evil must 
have arisen from it, had you fulfilled your oath; but, 
being undeceived, and not doing that which you had 
sworn to do, where the doing tends to ill, the truth is most 
done in not doing it. The words — truly done, mean, truly 
-i. e. sworn under the conviction of doing right. 



Scene I. — page 434. 



ASDULPII. 



The truth thou art unsure 



To swear, swear only not to be forsworn v 

The truth thou art so wavering about to swear, merely 
swears you not to he forsworn of the oath you have already 
taken to defend the rights of religion. I think Mr. Malone 
mistaken in saying, that two half-lines have been lost. 

The old copy reads swears, — meaning, that it swears 
him. It seems the true reading, and should be restored. 



Scene IV. — page 452. 

Constance. Which cannot hear a lady's feeble voice, 
Which scorns a modern invocation. 

Read — "modest invocation." 

The invocation is in the preceding speech of Constance ; 
and which she conceives to have been addressed with 
such humility, that it should have been immediately 
granted; but, finding the contrary, mildness changes to 
madness; and, had she power, she would shake the world 



182 KING JOHN. 

to rouse from sleep the fell anatomy which cannot hear a 
lady's feeble voice: for, a lady's feeble voice, she conceives, 
should have been immediately regarded, when a modest 
invocation was made. 

The word — modesty holds such natural correspondence 
with a lady's feeble voice, that no modern critic should 
doubt its purity : I am certain Shakspeare did not. The 
two terminating letters were not sufficiently legible in 
the manuscript, hence the compositor made — modern, 
instead of modest. 



Scene IV. — page 456. 

Lewis. And hitter shame hath spoil'd the sweet world's taste, 
That it yields naught, but shame, and bitterness. 

The old copy reads — word: altered by Mr. Pope, and 
very injudiciously ; the error is in the word — taste. Our 
Author, unquestionably, wroj:e: 

And bitter shame hath spoil'd the sweet word, state. 
That it yields naught, but shame, and bitterness. 

Lewis has just observed, that nothing in this world 
can yield him pleasure ; his dignity as a prince, and name 
as a warrior, being obscured by the conquering arms of 
England. Thus, the state and parade attached to royalty 
being tarnished, he cannot appear again with eclat among 
his people; nor can he enjoy that state, in which his am- 
bition delighted: for, 

bitter shame hath spoil'd the sweet word, state, 



That it yields naught, but shame, and bitterness. 

Mr. Malone says, the sweet word is life, and, that life 
was no longer sweet to the Prince. Had this been the 
Prince's idea, death must have been so far preferable to 
life, that though he wpuld not seek death, yet he would 
willingly hazard life, to regain lost honour ; but, notwith- 
standing his defeat, we find him so cautious of risking 



KING JOHN. 183 

his lite, that ho argues against running in danger. See 
his reply to the Cardinal: — 

"And lose it, life and all, as Arthur did/' 

The sweet word state, to which all kings and queens 
are partial, is changed into grief, from a similar cause : 
See Act III. sc. i. — 

Constance. "To me, and to the state of my great grief, 
Let kings assemble." 

Again, Act IV. sc. iii. — 

" And England is now left 



To tug andscamble, and to part by the teeth 
The unow'd interest of proud-swelling state.''' 

State is the luxury of a proud monarch : it is the food 
of his ambition, and the idol of his thoughts. 



ACT IV. 

Scene II. — page 472. 



Pembroke. If, what in rest you have, in right you hold, 

Why then your fears, (which, as they say, attend 
The steps of wrong,) should move you to mew up 
Your tender kinsman, &c. 

Mr. Steevens proposes a word for Pembroke, which, 
according to his own explication, would send the speaker 
to the Tower. The present reading — in rest, we must 
suppose to mean — repose. But John does not wear the 
crown either in rest, or in repose; for constant fears 
awake his mind to Arthur's claim : and the murmurs of 
the people, who " break out into the dangerous argument 
in question," prove that he holds it not with confidence, 
while he holds it without the good- will of his subjects. 
I am confident, that a t and an apostrophe have been 
overlooked by the compositor; and, that our Author 
wrote : 



184 K1XG JOIJX, 

If what ini' rest you have, in right you hold, 
Why then your fears, &c. 

i. e. His interest in, or right to the crown. The interest 
in the crown, is the legal claim, and indisputable right 
to it. On this very principle, Pembroke makes his ob- 
servation, If, says he, the interest by which you hold 
the realm be legal, why should you give way to fears, 
which only attend on those who act wrongfully? 

In Act IV. sc.iii. Faulconbridge, reflecting on the death 
of Arthur, says, — 

"The life, the right, and truth of all this realm 
Is fled to heaven ; and England now is left 
To tug and scamble, and to part by the teeth 
The unow'd interest of proud swelling state." 

Here we find, according: to Mr. Malone's elucidation 
of interest in the crown, the salt which preserves the 
word, — "The interest, which is not at this moment 
legally possessed by any one, however rightfully entitled 
to it.— On the death of Arthur, the right to the English 
crown devolved to his sister Elinor." 

Again, Act V. sc. ii. Lewis says, — 

" You taught me how to know the face of right, 
Acquainted me with interest to this land." 

If parallelisms ever established any corrections in these 
plays, surely, never were any more apposite than the 
above, particularly the latter. 



ACT V. 

Scene IV. — page 514. 

Melun. Fly, noble English, you are bought and sold; 
Unthread the rude eye of rebellion, 
And welcome home again discarded faith. 

Mr. Theobald proposes to read — untread. Before I 
read his note, I intended to make this correction. But 



KING JOHN. 185 

another corruption appears in the same verse, and unless 
it had been corrected, his proposed emendation would 
have rendered the passage still more obscure. How- 
ever, this tailor-like metaphor is susceptible of being- 
changed to a pure figure. I read, as I am confident our 
Author wrote : 

Fly, noble English, you are bought and sold, 

Untread the rude cry of rebellion, 

And welcome home again discarded faith. 

Meaning: wherever your influence has raised the cry 
of rebellion, go thither again: undo that which you 
have done against your country ; follow the steps of those 
who have rebelled against their sovereign; call back 
the misguided multitude to their allegiance; and wel- 
come home discarded faith. See Salisbury's reply: 

"We will untread the steps of damned flight." 



Scene Yll.—page 524. 

Prince Henry. Death, having prey'd upon the outward parts. 
Leaves them insensible ; and his siege is now 
Against the mind. 

The old copy reads — invisible. Sir T. Hanmer first 
introduced the present reading. But, though the word 
insensible maintains the situation formerly held by in- 
visible, and attempted to be made invincible, the original 
word, I think, must be restored to the text; but not 
immediately in the same place where it was stationed 
by the early Editors. We should correct, and point the 
passage thus : 

Death, having prey'd upon the outward parts, 
Leaves them; and, invisible, his siege is now 
Against the mind. 

Thus, death having preyed upon the reduced body 
of the King, quits it ; and now, invisible, has laid siege 
to the mind. The operations of the mind are hid from 



186 KING JOHN. 

human scrutiny; and their destruction only known, 
when the operations of death are accomplished. 

The transposition of one word restores the Author'^ 
original text. 



Scene VII. — page 534. 

Prince Henry. I have a kind soul, that would give you thanks, 
And knows not how to do it, hut with tears. 

The Prince pays himself too high a compliment, in 
saying — u I have a kind soul" he should have left his 
perfections for others to develop ; however, it is not his 
fault: our Author never intended him to be, at so early 
a period, the trump of his own perfections. 

The verse required a word, or syllable, to perfect the 
measure, and Mr. Rowe added the pronoun you ; the 
insufficiency of which, in point of sense, I hope to prove. 

Salisbury has just made a tender of love to the Prince, 
not only for himself, but also those nobles who had 
returned to their allegiance ; to which tender, the Prince, 
with tears of affection, thus replies : 

I have a kindred soul, that would give thanks, 
And knows not how to do it, but with tears. 

Thus, the Prince displays his sensibility ; and, with- 
out trumping out that he has a kind soul, tells them that 
he has a soul congenial with theirs in affection. 

Kind, being a word which terminated with a d, (like 
kindred;) either the transcriber or compositor thought 
the word perfected, and inadvertantly omitted the rest 
of the syllable. 



IMtifl 'i&trtjarii n. 



ACT I. 



Scene II. — page 17. 

Duchess. 'Why then, I will. Farewell, old Gaunt. 

It was the case in Shakspeare's time, and ever will be, 
even with the most experienced compositors, that when 
the repetition of one or more words immediately occur, 
an out is often the consequence. In the verse under con- 
sideration, two words have been omitted. The Duchess 
demands, — 

Where then, alas ! may I complain myself? 
To which Gaunt replies : 

To heaven, the widow's champion and defence. 

Therefore, finding- no likelihood of obtaining satisfaction 
for the assassination of Gloster, the Duchess, with re- 
ligious fervour, exclaims : 

To heaven! Why then, I will. Farewell, old Gaunt. 

Thus, both sense and measure are perfected. To restore 
the latter, Mr. Ritson would read : 

" Why then I will. Farewell old John of Gaunt." 

And Sir T. Hanmer reads, — 

" Why then I will. Farewell, old Gaunt, farewell.*' 

It remains for the critic to decide. 



188 KING RICHARD II. 

ACT II. 

Scene I. — page 45. 

Gaunt. This fortress, built by nature for herself, 
Against infection, and the hand of war: 

England, having been frequently visited by the plague 
and other pestilential disorders, our Author never could 
have conceived the gross absurdity, that Nature had 
built it as a fortress against infection ! 

Had Dr. Johnson, or Mr. Farmer, when seeking for 

an appropriate word, made choice of insertion^ I am 

inclined to think the text would have been corrected ; for, 

unquestionably, Shakspeare's original read : 

This fortress, built by nature for herself, 
Against insertion, and the hand of war ; 

England is compared to a fortress, and so strongly 
built by Nature, that the hand of war cannot cut through 
it; cannot divide it: — no insection can be made in it. But 
such is not the case with the continent ; it is ever exposed 
to the ruthless hand of war : each state is open to the 
incursions of an enemy. 

The compositor took up an /instead of an/— or read 
the passage with the more familiar word. 



Scene I. — page 57. 
Northumberland. That which his ancestors acihev'd with blows : 
This transposition of a letter shows that the most cor- 
rect printers make blunders : for acihcv'd, read — achiev'd. 
I allude to Johnson and Steevens' edition, 21 vols. 1813. 



Scene III. — page 77. 

York. Why have those banish'd and forbidden legs 

Dar'd once to touch a dust of England's ground? 

But then more why; Why have they dar'd to march 

So many miles upon her peaceful bosom; 
Frighting her pale-fac'd villages with war, &c. 



KING RICHARD II. 189 

Though the correction proposed by Mr. M. Mason 
softens this passage, if we can regulate it according to 
the orignal, it will be more satisfactory : a slight trans- 
position will, I think, have the desired effect. I read : 

Why have those banish'd and forbidden legs 
Dar'd once to touch a dust of England's ground? 
Why? — but then more: — why have they dar'd to march 
So many miles upon her peaceful bosom, &c. 

The effect which this reading gives, every judge of 
scenic representation will easily perceive. York is sup- 
posed to conclude his interrogatory, by emphatically 
repeating Why ? But, as the evils likely to arise from 
Bolingbroke's invasion create pictures of calamity in 
his mind, he prevents the immediate reply of Boling- 
broke, by a secondary demand, which exposes a still 
greater breach of faith than that of his returning, uni- 
authorized, from banishment. 



Scene III. — page 77. 

York. And ostentation of despised arms? 

The word despised, is used to denote the general 
contempt in which the British held the French forces. 
The Duke of Bretagne furnished Bolingbroke, with 
three thousand French soldiers. 



Scene III. — page 81. 

York. Nor friends, nor foes, to me welcome you are: 

This verse appears so hobbling, I cannot think the 
words placed according to the original. I would read: 

Nor ffiends, nor foes, to me you welcome are: 

This transposition of one word is no injury to the 



sense. 



90 KING KICIIARD II. 



ACT III. 



Scene II. — page 87. 

K. Richard. As a long parted mother with her child 

Plays fondly with her tears, and smiles in meeting; 

Mr. Steevens observes, that weeping has been pro- 
posed in place of the word meeting. Mr. Malone also, 
thought this a plausible emendation, were it not, that if 
weeping was substituted, the long parted mother does not 
meet her child. 

In my opinion, from the subsequent, part of Richard's 
speech, weeping must have been the Author's word ; but, 
false punctuation having rendered the passage obscure, 
the players familiarized it to their own conception. I 
read : 

Dear earth, I do salute thee with my hand, 
Though rebels wound thee with their horses' hoofs: 
As a long parted mother, with her child, 
Plays fondly with her tears, and smiles in weeping; 
So weeping, smiling, greet I thee, my earth, 
And do thee favour with my royal hands. 

Sure, the words — with her child, by the assistance of 
these two commas, demonstrate that the mother again 
possesses her child ; and what more can be required ? 
Had the passage read — As a long parted mother from her 
child; then, indeed, the meeting became indispensable, to 
produce the happy effect. 



Scene IV.— page 113. 

Queen. And I could weep, would weeping do me good, 
And never borrow any tear of thee. 

The old copy reads—" And I could sing." Mr. Pope, 
it seems, changed the passion of the poor Queen's mind : 
a transition, which no Commentator's pen has had equal 
power to do throughout these plays. But he perceived 



KING RICHARD II. 191 

not the philosophy, the resignation of the Queen ; nor 
the trifling blunder that has perverted the Author's 
meaning. — I read : 

An I could sing, would weeping do me good, 
And never borrow any tear of thee? 

Meaning : If I could sing : Thus, she displays equal 
affliction, though she suppresses her tears. The lady 
has said, that she can sing, or she can weep, according 
as either may contribute to ease the Queen's mind. To 
this command of passion, the Queen replies : — If I 
could sing, would weeping do me good, even though my 
tears were so abundant that I had no necessity for your' s ? 
therefore, the Queen, not knowing, at present, that the 
fall tide of sorrow is ready to flow in upon her, calls 
philosophy to her aid, — wisely judging, that weeping 
could not u drive away the heavy thought of care." 

Never can we imagine, that any species of careless- 
ness, either in a transcriber or compositor, could make 
so great a change, as to substitute the word weep for 
sing. 

Dr. Johnson, in his Dictionary, observes — An, is some- 
times, in old authors, a contraction of — And if; or if: 
In the following example, from one of our Author's 
plays, it is used for if only. 



He can't flatter, be! 



An honest mind and plain; lie must speak truth, 
An they will take it so; if not, he's plain.*' 

The transcriber mistook the sound of the word, the d 
being partly sounded by the person who read to him. 



ACT V. 
Scene V. — page 162. 



K. lliruxRD. For now hath time made me his numb 'ting clock: 
My thoughts are minutes; and, with sighs, the y jar 
Their watches on to mine eyes, the outward watch, 



192 KING RICHARD II. 

The first quarto reads : 

" My thoughts are minutes ; and with sighs they jar, 
Their watches on unto mine eyes the outward watch." 

This seems to approach nearest to the Author's 
original ; and which an i for an e will perfectly restore. 
I read: 

For now hath time made me his numh'ring clock: 
My thoughts are minutes; and with sighs they jar; 
Their watch is on unto mine eyes, the outward watch, 
Whereto my finger, like a dial's point, 
Is pointing still, in cleansing them from tears. 

His thoughts are the minutes; with which minutes 
his sighs jar : (here the comparison alludes to the jarring 
noise occasioned by the movement of the pendulum :) 
but still, the minutes watch his eyes, (the outward watch, 
or dial;) for, his finger (the index on the dial) cor- 
responds, in time, with each unhappy thought, and 
which obliges him to apply it to his eyes, to wipe away 
the tears each minute's thought occasions him to shed. 

It will be perceived, that the transcriber wrote — 
watches, for watch is : an error, originating merely from 
mistake of sound. 



dFtrsSt \$att of Iting %fytnx$ iv. 



ACT I. 

Scene I. — page 179. 

King Henry. No more the thirsty Erinnys of this soil 

Shall daub her lips with her own children's blood. 

The corrupt word in the old copies is — entrance. 
The present reading was suggested by Mr. M. Mason : 
but if we substitute Us for nee, (the terminating letters 
in entrance,) the original reading is obtained: 

~So more the thirsty entrails of this soil 

Shall daub her lips with her own children's blood. 

Confining his metaphor, the King personifies England 
as the common mother of his subjects, as from her 
bowels they derive support: and, as her surface (the 
face of the soil, and which he figuratively calls her lips,) 
tastes the bounty of heaven before the bowels, or entrails, 
of the earth receive it; that which the bowels refuse 
to admit, must bedaub the lips, and there remain until 
the hand of time cleanses them. 

Though it requires no argument to establish entrails 
as the legitimate word, an extract from Drayton's 
Legend of Pierce Gaveston, 1594, may prove a direct 
parallel to remove all doubts : 

"As when within the soft and spongie soyle 
The winds doth pierce the entrails of the earth, 
Where hurley hurley with a restless coyle 
Shake all the centre, wanting- issue forth." 

O 



194 FIRST PART OF KING HENRY IV. 

We have also a phrase something similar, in the Third 
Part of King Henry VI. Act II. sc. i. p. 73. 

" Thy brother's blood the thirsty earth hath drunk." 



Scene I. — page 183. 

K. Henry. Therefore, friends, 

As far as to the sepulcher of Christ, 
(Whose soldier now, under whose blessed cross 
We are impressed and engag'd to fight,) 
Forthwith a power of English shall we levy ; 

Had a full point been placed after the word — Forthzcith^ 
all obscurity would have been removed, and saved the 
Commentators an infinity of labour. See what a clear 
sense this simple correction gives the passage : 

Therefore, friends, 



As far as to the sepulcher of Christ, 
(Whose soldier now, under whose blessed cross 
We are impressed and engag'd to fight,) 
Forthwith. — A power of English shall we levy, &c. 

Thus, the King announces his intention of setting off 
for the Holy Land immediately, (forthwith,) and, to 
accompany him, he says — "A power of English shall 
we levy; whose arms were moulded in their mother's 
womb to chase these pagans," &c. The parenthetical 
part of the speech being so very long, occasioned the 
false punctuation. 



Scene I. — page 186. 

K. Henry. Ten thousand bold Scots, two-and-twenty knights, 
BaWd in their own blood, did Sir Walter see 
On Holmedon's plains : 

Neither Balk'd, Bath'd, nor Bah'd, is our Author's 
reading; nor has the passage any allusion to ridges, as 
Mr. Warton supposes. We should read: 



FIRST PART OF KING HENRY IV. 195 

Ten thousand bold Scots, two-and-twenty knights, 
Baskd in their own blood. 

This enormous number of the enemy lay basked, — 
i. e. heated in their own blood; for, though deprived of 
life, so great was the effusion of blood, that, what for- 
merly gave them animation, still kept them warm. The 
idea is taken from men basking in the sun. 

The compositor mistook the f for an I; formerly, the 
long f was commonly used in the middle of words. 



Scene II. — page 191. 

Falstaft. let not us, that are squires of the night's body, be 

called thieves of the day's beauty. 

They are called thieves of the day's beauty ', because 
they turn day into night; that is, they sit up all night, 
and sleep out the day. When a chamber is darkened 
before dusk, and candles are introduced, it is a common 
phrase, — We are robbing day-light; therefore, these 
u Squires of the night's body," are called, " thieves of 
the day's beauty.''' 



Scene III. — page 219. 

K. Henry. Shall we buy treason ? and indent with fears, 

The transcriber's ear deceived him ; he has ffiven a 
compound, instead of two distinct words. I am con- 
vinced our Author wrote : 

Shall we buy treason, and in debt with fears? 

i. e. Shall we expend money to purchase that which has 
already put the nation to considerable expense, and 
occasioned debts which still remain unpaid? The King 
alludes to the military establishment which he has been 
obliged to support in order to quell rebellion { and should 
he redeem Mortimer, it would be purchasing treason. 
the fears of which had already involved him in debt. 



196 FIRST PART OF KING HENRY IV. 

The plurality of the sequent verse alludes to the chiefs 
of the rebel party; but the King particularizes Mortimer 
on account of the interference of Hotspur. 



Scene III. — page 222. 

Hotspur. Never did bare and rotten policy 

Colour her working with such deadly wounds ; 

I believe our Author wrote : 

Never did barren, rotten policy 

Colour her working with such deadly wounds; 

Meaning: If his actions can be called policy; that 
policy was so barren of wisdom, so uninventive, and so 
rotten in itself, that it could produce nothing advan- 
tageous. Barren and rotten perfectly correspond. 

The transcriber, who wrote as another person dictated, 
mistook the sound, and gave the conjunction after bare, 
making it bare and, instead of barren. 

The word barren we find similarly employed in Act III. 
sc. ii. of this play : 

" Such barren pleasures, rude society, 
As thou art match'd withal," &c. 



ACT II. 

Scene I. — page 246. 



Gadshill. 1 am joined with no foot land-rakers, no long- 
staff, six-penny strikers; none of these mad, mus- 
tachio purple-hued malt worms: but with nobility 
and tranquillity; burgomasters, and great oneyers; 

Various are the conjectures which the oneyers have 
occasioned ; but, however ingeniously opinion has been 
defended, both the cant and meaning of Mr. Gadshill 
still remain obscured. 



FIRST PART OF KING HBNRY IV. 1Q7 

Six orders of robbers have been particularized by this 
ingenious highwayman; three of the lower opposed to 
three of the higher. Of the lower, my predecessors have 
been as explicit as is necessary. — Of the higher orders, 
nobility must take the lead ; and here Gadshill can have 
but a limited allusion; namely, to the Prince and his 
volatile companions, who, for " sport sake, are content 
to do the profession some grace." Tranquillity merely 
alludes to safety ; there is no danger of coming to the 
gallows, for, u if matters should be looked into, for their 
own credit sake, they must make all whole." 

But, of all classes of robbers, the most desperate, 
daring, and determined, are the oneyers! I beg Mr. 
Gadshill's pardon, for calling this bold order out of its 
name: — I mean, wan-dyers, — by modern appellation — 
highwaymen. 

Question. But why are highwaymen called wan-dyers? 

Answer. Because, on pointing a sword or dagger at 
the breast of any unfortunate person that a wan-dyer 
means to rob, the party so disagreeably accosted, first 
starts, a trembling succeeds, (if he be not a man of metal,) 
and from his face the crimson blood retreats with such 
expedition, that he immediately becomes as perfect a 
wan-colour as the most professed dyer in Britain could 
produce. — 'Tis next to magic! the most florid hue gives 
way to the wan, at the words, stand and deliver! 

In Act II. sc. iv. of this play, the Prince, who no doubt 
knew some of the wan-dyers, and, also, how wan-dying 
was performed, tells us of another species of dying: — 
"They call," says he, " drinking deep, dying scarlet." 
Thus, topers were termed scarlet-dyers, and highwaymen, 
wan-dyers. 

The transcriber wrote one, instead of wan, both having 
the same sound ; and one-dyers being considered by the 
sagacious Editor as incorrect, he made it oneyers ; for 
an explication of which, I refer the reader to the learned 
notes of my predecessors, on this passage. 



198 FIRST PART OF KING HENRY IV. 

Scene I. — page 247. 
Such as can hold in ; 



This is a tissue of the same cant phraseology, and 
means, such as retain their courage when opposed, 
and shrink not back from danger. 



Scene I. — page 248. 
Such as will strike sooner than speak, &c. 
The cant language of Shakspeare's time, being not 
only obsolete, but unknown, conjecture only can be 
advanced respecting this gradation : however, though it 
has been relinquished by my predecessors, as impossible 
to explain, it may be brought within the powers of com- 
prehension. "Such as will strike sooner than speak;" 
i. e. knock a man down at once, sooner than hold any 
unnecessary altercation. 



Scene I. — page 248. 
And speak sooner than drink, 
He would listen to argument and desist from his pur- 
pose sooner than stab him. To stab a man is held in 
abhorrence, even by highwaymen; besides, the blood 
gushing out, sprinkles the clothes of the murderer^ 
which, when observed by his companions, they would 
say : What ! have you been drinking ? 



Scene I. — page 248. 
And drink sooner than pray : 

But should the party attempt to seize him, sooner than 
be made a prisoner, he would stab him; for, if taken, 
it must lead him to the gallows; in which awful state, 
the most thoughtless would offer up a prayer to heaven 
for mercy. 



FIRST PART OF KING HENRY IV. 199 

Scene I. — page 278. 

Prince Henry. Didst thou never see Titan kiss a dish of butter? 
pitiful hearted Titan, that melted at the sweet 
tale of the son ! 

This passage being corrupt, has been totally misunder- 
stood, and the story of Phaeton introduced as an eluci- 
dation ; but the idea of the passage having relation to 
the Heathen Mythology is absurd ! The picture is drawn 
from terrestrial nature; and was, I am confident, so per- 
fectly familiar to our Author, that he scrupled not in 
making it equally familiar to the Prince. 

In former days, more than the present, fools were en- 
couraged about taverns, for the purpose of amusing the 
company; they were lusty and lazy, like our Author's 
Caliban^ and willingly degraded nature by doing what- 
ever wit and wickedness could devise. 

We see the Prince associating with characters of a 
very inferior order; and frequently in taverns: even 
Hotspur was aware that he resorted ale-houses; for, 
knowing that the Prince was partial to good ale, he says, 
" I'd have him poison'd with a pot of ale." 

Now, let us suppose the Prince and his merry com- 
panions at the Sun Tavern; and at which tavern there 
is retained an unfortunate idiot, named Titan, and who 
is known in the neighbourhood as Titan of the Sun. This 
tavern is celebrated for sweet ale. The Prince and his 
companions drink freely; Titan makes sport for them, 
as Francis frequently did, at Dame Quickley's : A dish 
of butter is introduced for Titan to kiss; perhaps Poins, 
to make the scene more ludicrous, pops poor Titan's head 
into the dish of butter, who, crying at his greasy dis- 
grace, is promised a pot of sweet ale to restore him to 
good humour. He dries his eyes ; the ale is presented, 
but, to tantalize him, withdrawn; he then melts again; 
the tears run down his greasy cheeks; and, finally, a pot 
of sweet ale of the Sun Tavern is given to Titan, which 



200 FIRST PART OF KING HENRY IV. 

reconciles all matters. Now, let us read with the cor- 
rected word: 

Didst thou never see Titan kiss a dish of melted hutter J pitiful 
hearted Titan, that melted at the sweet ale of the Sun. 

To this figure the Prince compares FalstafF, — who ? 
after gaining and losing a booty ; after a hard ride to 
and from Rochester ; after fretting like a gummed velvet," 
enters, in a violent heat, " larding the earth " as he moves 
along, and — with "a plague of all cowards" vents his 
spleen at the Prince. 

The transcriber wrote— sweet tale: — the person who 
recited to him, not pronouncing sweet ale sufficiently 
distinct, carried the t in sweet to the word — ale. 



Scene IV.— page 309. 

Falstaff. banish not him thy Harry's company, banish 

not him thy Harry's company, banish plump Jack, 
and banish all the world. 

The repetition — banish not him thy Harry* s company , 
is, I am convinced, an error, and must be attributed 
to the compositor, who, having composed the word — 
banished, (designed to precede plump Jack,) again re- 
peated — " Not him thy Harry's company." The word 
banish is used seven times in a few lines ; and, in this 
instance, its effect is materially injured. 



Scene IV.— page 310. 

Falstaff. Dost thou hear, Hal? never call a true piece of gold* 
a counterfeit! thou art essentially mad, without 
seeming so. 

The old copies read— made; which Mr. Rowe most 
injudiciously altered to mad. 



FIRST PART OF KING HENRY iV, gQj 

Falstaff has been counterfeiting the Prince ; and now. 
alarmed at hearing- that the sheriff, with the watch, is 
come to search the house for the robbers, he remind? 
the Prince, that he is no counterfeit, but the true prince : 
essentially made, — /. e. legally and legitimately royal ; 
and yet, without seeming so, from his condescension, and 
not assuming that dignity attached to his high birth : 
therefore, as a true piece of gold bears the stamp of the 
King, so doth he, as heir apparent ; and, being essentially 
made, must use his authority with the sheriff, and have 
the watch dismissed. See the Prince's observation, 
when he orders Falstaff and his companions to secrete 
themselves : 

" Now, my masters, for a true face and a good conscience." 

The word made should be restored. 



ACT III. 

Scene I.— page 324. 



Glendower. And gave the tongue a helpful ornament; 
A virtue that was never seen in you. 

This is a lash at Hotspur, who had a defect in his 
speech. See Second Part of King Henry IV. Act II. 
sc. iii. where Lady Percy says : 

And speaking thick, which nature made his blemish, 
Became the accent of the valiant. 



Scene II. — page 342. 

K. Henry. The skipping king, he ambled up and down 
With shallow jesters, and rash bavin wits, 
Soon kindled, and soon burn'd : carded his state ; 

What with carping,carding, capering, and card-playing, 
this passage is so abused, that I could almost carp at 



202 FIRST PART OF KING HENRY IV. 

the Commentators, for throwing- away erudition on such 
forced elucidation. Our Author wrote: 

Soon kindled, and soon burn'd; candled his state; 

Surrounded by dissolute companions, and sunk in 

sensuality, the reign of Richard wasted like the burning 

of a candle, nor cast one brilliant ray to immortalize 

his name : — 

■ "no extraordinary gaze, 

Such as is bent on sun-like majesty 
When it shines seldom in admiring eyes^" 

See a subsequent part of this speech. 

By this correction, the chain of metaphor designed 
by the Author is perfectly united. The skipping king 
had nothing cool and determined in his composition : 
dissipation soon kindled in him, and burned the powers of 
reason : and, instead of displaying the sun-like majesty 
of a king, he candled his state, by turning day into night, 
and in mingling his royalty with dissolute companions. 

The copy not being sufficiently clear, the compositor 
suited a word as near the letters as his judgment could 
discriminate. 



Scene II. — page 343. 

K. Henry. Mingled his royalty with capering fools. 

Where the early copies differ, and modern critics 
have remained undecided on any particular words in 
these plays, we may be certain, the legitimate have not 
been discovered. In the present passage, by changing* 
a single letter, we gain the original. We should read: 

Mingled his royalty with catering fools. 

Meaning: those who, in the gratification of their 
own passions, devoted their time to luxury; and who, 
knowing Richard's propensities, were caterers to his 
pleasures. 



FIRST PART OF KING HENRY IV. 203 

The transcriber mistook the word from similarity of 
sound. 



Scene III. — page 367. 

Falstaff. Rob me the exchequer the first thing thou doest, 
and do it with unwashed hands too. 

And do it with unwashed hands. The first act of a 
pious character, on rising in the morning, is to pray ; and 
this he does with unwashed hands. Falstaff would, 
therefore, impress on the mind of the Prince, that 
robbing the exchequer would be equally meritorious. 



ACT IV. 

Scene I. — page 372. 



Hotspur. for therein should we read 

The very bottom and the soul of hope; 
The very list, the very utmost bound 
Of all our fortunes. 

An oversight, very common with compositors, has 
occasioned the present corrupt reading : a p has been 
inverted, — which, giving the appearance of a d y made 
read, instead of reap: this error corrected, the text is 
perfectly familiar : 

Were it good, 



To set the exact wealth of all our states 
All at one cast ? to set so rich a main 
On the nice hazard of one doubtful hour ? 
It were not good : for therein should we reap 
The very bottom and the soul of hope ; 
The very list, the very utmost bound 
Of all our fortunes. 

To reap, is to cut. Had the forces of Northumber- 
land joined the rest of the rebel party, and that one 
battle gave a decisive victory to the royalists, then were 
the rebels cut to the very bottom and the soul of hope : — 
no retirement; no rendezvous ; no home were left them to 
fly unto. 



204 FIRST PART OF KING HENRY IV. 

Scene I. — page 374. 

Worcester. For, well you know, we of the offering side 
Must keep aloof from strict arbitriment; 

The word which claims present notice is offering. — 
Some Editors read, — offering; others, offending; and 
various are the elucidations their equally corrupt read- 
ings have forced. A slight correction gives the Author's 
words ; who, unquestionably, wrote : 

For, well you know, we of the oft-erring side 
Must keep aloof from strict arbitriment; 
And stop all sight-holes, every loop, from whence 
The eye of reason may pry in upon us. 

Worcester and Hotspur were two of the leading 
characters that helped to dethrone Richard the Second, 
and by whose influence the concurrence of the nation 
was gained in behalf of Bolingbroke : thus^ they erred, 
by imposing on the people a king, who had no legal 
claim to the throne. Again disaffection appears; the 
standard of rebellion is planted; and they are the 
leaders of a powerful faction to dethrone Henry, and 
place Mortimer on the throne : thus, we behold them 
erring again. Aware that the nation must reprobate 
such king-makers and king-breakers, they strive to give 
a gloss to their proceedings, and are anxious to screen 
from observation how closely self-interest influences their 
actions: "for," says Worcester, "we of the oft-erring 
side must stop all sight-holes /' for, whether the people 
consider us to err from judgment, or from erroneous 
principles, we must prevent the eye of reason from 
penetrating into our real motives. 

Offering and oft-erring are nearly the same in writing : 
the t in oft was taken for an f by the compositor. Such 
errors are common ; and would daily pass, but that, in 
the present day, our correctors are cautious, for their 
own credit ; and most Authors peruse each sheet of their 
work before it goes to press. 



FIRST PART OF KING HENRY IV. 205 



Scene I. — page 376. 

Vernon. All furnish'd, all in arms, 

All plum'd like estridges that wing the wind; 
Bated like eagles having lately bath'd ; 

My learned predecessors have frequently set forth the 
caution before each other, that, except in certain cases, 
too scrupulous a degree of delicacy cannot be observed 
respecting alterations in the text : for my part, I think 
it inadmissible in any case, where the text can be legi- 
timately established : but, surely, it becomes an insult 
to the memory of our great Bard, to call the blunders 
of transcribers and compositors, our Author's text ! I 
have been led to this observation from an alteration that 
has been made by Dr. Johnson in the passage under 
consideration ; and which, as Mr. Steevens observes, he 
has adopted from the example set him by Mr. Malone. 
How far Dr. Johnson was correct; and how far his con- 
temporaries acted consistently by corresponding with his 
opinion, remains for the judicious Clitic to determine : 
I defend the words of the old copies, but not the punc- 
tuation. The old copies read : 

■ All furnish'd, all in arms, 



All plum'd like estridges that with the wind; 
Bated like eagles having lately bath'd. 

The observations of my predecessors on this passage, 
occupy four pages ! — All deem the passage corrupt ; but 
Mr. Malone goes farther, — he is certain a line has been 
lost. 

According to the present text, the comrades or fol- 
lowers of the Prince, now a military band, are u all 
plumed like estridges ;" consequently, if so plum'd, they 
must be covered all over with feathers ; and their a glit- 
tering coats y 1 as described by Vernon, must be completely 
hid! how is this to be reconciled? for, literally, the 
comparison gives them the full plumage of estridges, 



906 FIRST PART OF KING HENRY IV. 

and reminds us of the ludicrous appearance of a number 
of men tarred and feathered! If the text was deemed 
obscure before, do we receive that light which Mr. 
Steevens thinks Dr. Johnson's emendation gives it? Mr. 
S. observes, a For the sake of affording the reader a text 
easily intelligible, I have followed the example of Mr. 
Malone, by adopting Dr. Johnson's emendation:" and 
Mr. Malone, to return the compliment, says, "Mr. 
Steevens's notes perfectly explain the passage as now 
regulated." 

Mr. Malone is certainly very correct in saying, " From 
the context, it appears to me evident that two distinct 
comparisons were here intended, that two objects were 
mentioned, to each of which the Prince's troops were 
compared ; and that our Author could never mean to 
compare estridges to eagles, a construction which the 
word with forces us to !" But, I must refer my readers 
to the notes in Johnson and Steevens's edition of our 
Author's plays, and endeavour to prove, that the fol- 
lowers of the Prince were not plum 'd like estridges; and 
also, that two distinct comparisons are as conspicuous 
as the ingenuity of any writer could make them. I read, 
as I am convinced our Author wrote : 



All furnishd ! all in arms ! 



All plum'd ! like estridges that with the wind 
Bated : like eagles having lately bath'd ; 

Here there is no deviation from the old copy, save in 
the punctuation, which wants the necessary pauses. In 
an edition of this play, printed in 1613, the passage reads : 

All furnish'd? all in arms? 

Thus, the compositor, through ignorance of the dif- 
ference between the note of admiration and the note of 
interrogation, substituted the latter; but which, from 
being falsely introduced, the Editor of the first folio (if 
he copied from this edition) rejected, and substituted 
commas, as in the present text. 



FIRST PART OF KING HENRY IV. 207 

Where then are the defects ? where the want of com- 
parison, as said by Mr. Malone to have been lost, in the 
loss of a line? If I have any comprehension of our 
Author, I pronounce the passage, as restored, to produce 
that happy effect so anxiously desired by my predecessors, 
and which Dr. Johnson thus charmingly describes : " A 
more lively representation of young men ardent for en- 
terprize, perhaps, no writer has ever given." 



Scene II. — page 384. 

Falstaff. such as fear the report of a caliver, worse than a 

struck/flif/, or a hurt wild-duck. 

This passage exhibits an error solely attributable to 
the compositor; who accidentally breaking the word, 
strove to replace the types, without referring to his copy; 
and thereby formed a very ingenious anagram, by making 
a wolf— a. fowl! 

My predecessors, though convinced that this passage 
was corrupt, were cautious of introducing a substitute for 
fowl, as neither the name of any bird or beast came 
sufficiently near in sound to lay the error to false tran- 
scription ; and as a duck, though a wild one, came under 
the general denomination of fowl, they considered the 
tautology too gross even for Shakspeare's most careless 
moments. They were unquestionably right; for our 
great Bard steered perfectly clear of tautology on the 
occasion. I read : 

such as fear the report of a caliver, worse than a struck 

wolf, or a hurt wild-duck. 

Thus, the imagery is perfectly varied; and each 
object is, in its nature, wild. The one, on hearing the 
report of a caliver, runs howling into the recesses of the 
forest; the other, screens itself among the flags or 
rushes of some lake. 



>08 FIRST PART OF KING HENRY IV. 

ACT V. 

Scene II. — page 409. 



Tell me, tell me, 



How show'dhis tasking! 

The impatience of Hotspur proves that we should 
read taking, — alluding to the Prince's supposed distress 
of mind, on hearing that so strong a power was about to 
oppose him. 

In the Merry Wives of Windsor, Mrs. Page says, — 

4i What a taking was he in, when your husband asked who was 
in the basket!" 



Scene II.— page 411. 

Hotspur. never did I hear 

Of any prince, so wild, at liberty: — 

Three different quartos read — So wild a libertie. 
According to the present reading, Hotspur would have 
the Prince confined like a madman; and truly, because 
he displays some of those wild sallies prevalent in youth ! 
But examine the reading of the quartos, and it will 
appear evident, that an n dropped out of the word 
libertine; which, being overlooked by the compositor, 
the entire impression was worked with this error. In 
short, the punctuation of the passage, as in the quartos, 
and the article, show that libertine was the original 
reading. 



Scene III. — page 418. 

Falstaff. Well, if Percy be alive, I'll pierce him. If he do come 
in my way, so : 

Dr. Johnson's idea of this passage is partly correct ; 
but to draw a cork out of a bottle with a cork-screw 
requires the use of both hands ; and, surely, Falstaff 
could not be so disregardful of personal safety, or so 



FIRST PART OF KING HENRY IV. 209 

blind to duty, as to lay down his sword to draw a cork 
in the heat of battle ! 

That our Author designed the witty Knight to dis- 
play some of his humour here, is manifest; but, for w an t 
of stage direction, the humour has been lost, and the 
passage wears the appearance of obscurity. I should 
imagine it stood originally thus : 

" Well, if Percy be alive, I'll pierce him if he do come in my way, 
so ! {Here he uses the soldier's cork-screw ; runs the point of 
his sword into the cork.) If I come in his, willingly, let him 
make a carbonado of me. I like not such grinning honour 
as Sir Walter hath. Give me life: which if I can save, so!" 
(Here he drinks.) 

Meaning : if he escapes the dangers of battle, so will 
he cherish life by drinking. Thus, an applicable action 
takes place each time that he uses the emphatic — so! 
and a degree of humour is maintained, which cannot 
fail of producing a ludicrous effect. That FalstafF plays 
on the word pierce, is evident. In Act II. sc. ii. of 
this play, he sports similar humour, when attacking the 
travellers : — " You are grand jurors y are ye? — We'll 
grand jure ye, i'faith." 



&mtto llatt of mttg %fytnxv iv. 



ACT I. 

Scene II. — page 35. 

IIalstaff. The young Prince hath misled me: I am the fellow 
with the great belly, and he my dog : 

Falstaff wishes to impress on the mind of the Chief 
Justice, that the Prince misleads him, i.e. corrupts his 
morals; and that he wishes to avoid him, but in vain; 
for, wherever he goes, the Prince dogs him ; and when- 
ever he loses sight of him, by enquiring for the fellow 
with the great belly ^ he is sure to find him out. Falstaff 
seems to have been well known by his bulk. See First 
Part of King Henry IV. where the Sheriff identifies 
Falstaff: " One of them is well known^ my gracious lord ; 
a gross fat man" 



Scene II. — page 50. 

Hostess. A hundred mark is a long loan for a poor lone woman 
to bear : 

The old copy reads — a long one; I am convinced our 
Author wrote a long owe; which phraseology not only 
corresponds with the character, but is still a common 
expression among the ignorant. Falstaff owed the 
Hostess a long score; it was not a direct loan. The 
compositor mistook the w for an w, both being nearly 
similar in writing. 



SECOND PART OF KING HENRY IV. 211 

Scene II. — page 67. 

Poitvs. Even like those that are kin to the King; for 

they never prick their finger, hut they say, There is 
some of the King's blood spilt: How comes that? says 
he, that takes upon him not to conceive: the answer is 
as ready as a borrower's cap, &c. 

The turn which Dr. Warburton's correction has given 
this passage, while it produces a meaning, creates an 
additional error, and places the sense of the Author at a 
greater distance from critical penetration. The old copy 
reads , — 

the answer is as ready as a borrowed cap. 

The cant phrase of the day is ever called a borrowed 
phrase, when used by any other than the person who gave 
it birth. A familiar cant phrase, then, being as current 
as the copper coin of the kingdom, what answer can be 
more ready than a borrowed cant? I am therefore, con- 
fident, our Author wrote : 

the answer is as ready as a borrowed cant. 

Had Dr. Warburton, instead of a borrower's, made it 
a beggar's cap, he would have been nearer to probability : 
a beggar's cap, is ever ready on soliciting alms. 



ACT III. 

Scene I. — page 120. 

Warwick. Such things become the hatch and brood of time; 
And, by the necessary form of this, 

Warwick, though speaking in general terms, retains in 
view the particular object of Henry's animadversion : 
which object^ is Richard: and, as he says, " there is 
a history in all men's lives, by the necessary form of 
his," (Richard's.) he might form a just conception, that 

P2 



212 SECOND PART OF KING HENRY IV. 

Northumberland would, if it suited his interest, prove 
as false to him, (Bolingbroke) as he formerly proved 
to Richard. The error lies in the word this, it should 
certainly read, — 

Such things become the hatch and brood of time; 
And, by the necessary form of his, 
King Richard might create a perfect guess, 
That great Northumberland, then false to him, 
Would, of that seed, grow to a greater falseness: 



Scene I. — page 140. 
Falstaff. For you, Mouldy, stay at home still; you are past 



service. 



The old copies read — " For you, Mouldy, stay at home 
till you are past service." And, after various attempts 
to elucidate, and other attempts to correct this read- 
ing, which is, unquestionably, from the original, Mr. 
Tyrwhitt's emendation (the present reading) has been 
accepted, to the material injury of that humour designed 
by the Author, who makes Falstaff play on Mouldy's 
name. 

FalstafTs agent in knavery, having received a certain 
sum from Mouldy, the witty Knight rejects him ; observ- 
ing — " You, Mouldy, stay at home till you are past 
service." Meaning: that, as he is already Mouldy, he 
may stay at home until he becomes old and rotten.— 
Falstaff draws his figure from a piece of mouldy cheese ; 
which mould, or concretions on the cheese, is the first 
state of rottenness. But, see FalstafTs wit, in address- 
ing both Mouldy and Bull-calf: — Mouldy is to stay at 
home till he is past service; and Bull-calf is to stay at 
home to grow, till he comes into service : he is but a calf 
at present, and must grow to be a bull. The word — till y 
is applied on both occasions. 

The original word should be restored. 



SECOND PART OF KING HENRY I\ r . 9\3 

Scene I. — page 152. 

Falstaff. I will make him a philosopher's two stones to me. 

Of the many errors that have crept into these plays 
through the carelessness of transcribers, this is obviously 
one : for, whatever the arcanum may have been, that was 
imposed on the credulity of the people as the philoso- 
pher's stone, Falstaff seems to have had no faith in its 
virtues. But, as the gilded pills were swallowed by many, 
and the deception could not be hid from him, he wishes 
to make sure work, and therefore says, — 

I will make him a philosopher's true stone to me. 

Meaning: that, however the world may be deceived 
by the pretended philosopher's stone, and its supposed 
virtues, Justice Shallow shall prove a philosopher's 
true stone to him; for he will work money out of him. 

As the extract from the letter, written by the Duke 
of Buckingham to King James I. on the subject of the 
philosopher's stone, and quoted by Mr. Steevens, gives 
great weight to this correction, I call it to my aid: 

" My sone is healthfull ; my diviU's luckie, myself is happie, 
and needs no more than your blessing, which is my trew 
Felosopher's stone." 

The sound of the word true might easily be mistaken 
for two; and, as the numeral was plural, the substantive 
was made to correspond. 



ACT IV. 

Scene I. — page 157. 

\Y F <sTmorf.i.and. Wherefore do you so ill translate yourself, 

Out of the speech of peace, that bears such grace, 
Into the harsh and boist'rous tongue of war ? 
Turning your books to graves, your ink to blood, 
Your pens to lances; and your tongue divine 
To a loud trumpet, and a point of war? 



214 SECOND PART OF KING HENRY IV. 

Though great exertions have been made to illustrate 
this passage, it remains, in my opinion, as obscure as 
ever : nor do I think our Author wrote either grates or 
glaives ; but breves, — i.e. summonses. 

His theological books he turned into summonses, calling 
thereby the people to arms; his ink to blood, and his 
pens to lances : thus, we have paper, ink and pens ; and 
all perverted to the worst of purposes, — instructing the 
people to take arms against their king. 

In the First Part of King Henry IV. the Archbishop 
says to one of his friends, — 

" Hie, good sir Michael; bear this sealed brief 
With winged haste to the lord mareshall; 
This to my cousin Scroop," &c. 

With this order, he delivers him a packet of letters, or 
summonses, observing, — 

" Make haste; I must go write again to other friends." 



Scene I.— page 166. 

Archbishop. Then take, my lord of Westmoreland, this schedule; 
For this contains our general grievances :— 
Each several article herein redress'd ; 
All members of our cause, both here and hence, 
That are insinew'd to this action, 
Acquitted by a true substantial form ; 
And present execution of our wills 
To us, and to our purposes, consign' d} 

The quarto has confined: But, the word being deemed 
unintelligible, consigned, at the suggestion of Dr. 
Johnson, and advocated by Mr. Malone, has been ad- 
mitted into the text. It, however, appears to me, that 
partly by false punctuation, and the omission of paren- 
thesis, the passage has been rendered obscure. I think 
confined the true word, and that it deserves the liberty 
of making its re-appearance. I read : 



SECOND PART OF KING HENRY IV. 215 

Each several article herein redress'd; 

All members of our cause, both here and hence, 

That are insinew'd to this action, 

Acquitted; (by a true substantial form, 

And present execution of our wills, 

To us and to our purposes conjiri'd;) 

We come within our awful banks again, 

And knit our powers to the arms of peace. 

Thus, the Archbishop having made the first proviso 
that all shall be acquitted, he then, more emphatically 
dictates to Westmoreland the principles upon which that 
acquittal must be framed : it must be a true substantial 
form, corresponding in every sense with their wills, as laid 
down in the present schedule delivered to him, and must be 
confin'd to those principles only ; free from restrictions or 
limitations, and, in every sense, suited to their purposes, who 
have framed, as Hastings says, propositions " Upon such 
large terms, and so absolute," that their "peace shall 
stand as firm as rocky mountains." 

Mr. Steevens seems to have admitted consigned into 
the text with some reluctance ; and observes, that he has 
submitted the notes of the various Commentators to the 
Reader's judgment. 



Scene IV.— page 189. 

K. Henry. Yet, notwithstanding, being incens'd, he's flint; 
As humorous as winter, and as sudden 
As flaws congealed in the spring of day. 

Whatever humour this verse was designed to convey, 
our Commentators have not been able to extract it; nor, 
indeed, do I see how they possibly could, in its present 
corrupt state. 

The King, speaking of Prince Henry, says, that " being 
incens'd, hetsjlint;" of course, obdurate. If, then, hard 
as flint, he is also " tumorous as winter:" — i.e. Like a 
heavy cloud, in winter, that, meeting opposition, bursts, 



2,16 SECOND PART OF KING HENRY IV. 

and pours down its violence on all beneath. Thus, then, 
we should read : 

As tumorous as winter, and as sudden 
As flaws congealed in the spring of day. 

The Prince, being- a piece of a wag, either the tran- 
scriber, or compositor, made him humorous /—a t, for an 
/*, corrects the error. 



ACT V. 

Scene l.-^-page 221. 

Chief Justice. And never shall you see, that I will beg 
A ragged and forestalls remission. — 

Dr. Warburton could not extract any meaning out of 
ragged, nor Dr. Johnson, out o£ forestalled, either in its 
primitive or figurative sense. 

As for a ragged remission, (though at best it is but a 
beggarly figure,) I understand it to consist of broken 
sentences, long pauses, hems and haws, split words, and a 
profusion of sirs, marked with resentment, and which 
the needle and thread of patience would find difficult 
to tack together. Forestalled is not so easily reconciled ■ 
it is certainly strained ; but, notwithstanding, sussceptible 
of meaning : The Chief Justice will not be beforehand to 
solicit remission from the King ; for should he, a ragged 
remission, he expects, must be the consequence. 



Wm% ffitnts v 



ACT I. 

Scene II.— page 300, 

Exeter. It follows then, the cat must stay at home: 
Yet that is but a curs' d necessity ; 
Since we have locks to safeguard necessaries, 
And pretty traps to catch the petty thieves, 

I am convinced, the transcriber made a cursed blunder 
here. It may be demanded, — for what purpose must 
the cat stay at home? — Is it not to watch the mice — the 
petti/ thieves? The text is shamefully corrupt. We 
should read : 

Yet that is but argus'd necessity, 

Exeter, on reflection, considers, that there is no neces- 
sity for the cat to stay at home, to be looking about with 
Argus* eyes; for, says he, " We have locks to safeguard 
necessaries, and pretty traps to catch the petty thieves ," 
so let that be no impediment to your views. 

There certainly is much similarity in sound between 
argus^d and a cursed; and a person, unacquainted with 
the fable of Argus, might be easily deceived. 

The word argus'd, may be considered as from the mint 
of our Author : — argus'd, (watch'd.) 



Scene II. — page 306. 

K-. Henry. * Either our history shall, with full mouth, 

Speak freely of our acts; or else our grave, 

Like Turkish mute, shall have a tongueless mouth, 

Not worshipp'd with a waxen epitaph. 



218 KING HENRY V. 

Henry knows the influence of popularity, and how 
far sensibility would operate on the minds of his subjects, 
provided he leaves a good and glorious name ; but, should 
history have cause to record him as a weak Prince, 
and one who studied not the happiness of his subjects, 
then must his name be held in contempt, and his tomb 
"not worshipped with a waxen epitaph." Meaning: ari 
epitaph that would not cause tears to be shed by those 
who read it. But, should his name be revered by pos- 
terity, then, as wax melts, so would the hearts of those, 
who visited his tomb, melt with sensibility, on reading 
the records of his warlike deeds, and private and public 
virtues. 



Scene II.— page 310. 

K. Henry. We never valu'd this poor seat of England; 
And therefore, living hence, did give ourself 
To barbarous license; As 'tis ever common, 
That men are merriest when they are from home. 

The anonymous remarker, who so confidently asserted, 
that hence means here, should have given some authority 
to gain proselytes to his opinion. But, begging pardon 
of my predecessors, I wonder where their judgment lay, 
when a passage, so very clear, could, for a moment, 
have its meaning veiled from their accustomed penetra- 
tion ! — Surely, on paying the slightest attention to the 
passage, it will be perceived, that the King alludes not 
to his British dominions: — No; he loves the country 
that he governs too well, not to appreciate its value; 
has subjects, who proudly boast their liberties; and who 
would hav$ thought it strange indeed, were he to stoop 
with such humility to the French ambassador, as to say, 
We never valued this poor seat of England, and meant the 
realm of England. But argument is unnecessary in a 
plain case. 



KING HENRY V. 219 

Henry has laid claim to France, as being- its lawful 
sovereign. He who holds it in possession refuses to 
restore it. — Therefore, to show the ambassador, that 
England is the seat of power , and that all foreign states, 
whether gained by conquest, or his by lineal descent, 
are subordinate to Britain, Henry says, — that, in the 
greatness of his home dominion, he never valued France ; 
for he has ever considered France as a poor seat of Eng- 
land, and, therefore, living hence, — i. e. so far removed 
from France, he paid not that necessary attention to it 
which he should have done; but, like men who are 
merriest when they are from home, gave himself up to 
licentious pleasures. 

Henry's claim to France being- the subject of discussion 
in council, he says — this poor seat; as though he had 
said — France, that poor seat belonging to England. See 
a subsequent part of this speech, where Henry says, — 

-" I will keep my state; 



Be like a king, and show my sail of greatness, 
When I do rouse me in my throne of France:" 



Scene II. — page 312. 

K. Henry. 1 will keep my state; 

Be like a king, and show my sail of greatness, 
When I do rouse me in my throne of France: 

I cannot perceive any figure sufficiently striking to 
give effect to the Avord — sail. If Henry means his navy, 
how can he show it, when seated on the throne of France ? 
I am certain we should read : 

1 will keep my state ; 

Be like a king, and show my seal of greatness, 
When I do rouse me in my throne of France: 

Meaning: His royal signet, — the British seal; and 
in which the French arms were quartered. 



220 KING HENRY V. 

ACT II. 

Scene I. — page 319. 

Nym. Good morrow, lieutenant Bardolph. 

Our Author is censured for giving Bardolph the title 
of lieutenant. In my opinion, the Critic's penetration 
was more defective than Shakspeare's memory ; for when 
the King accepted the services of his old companions, 
in rewarding them, he only kept his royal word. — See 
Henry IV. Act V. sc. v. 

"For competence of life, I will allow you ; 
That lack of means enforce you not to evil : 
And, as we hear you do reform yourselves, 
We will, — according to your strength, and qualities, — 
Give you advancement" 

Corporal Bardolph, then, having promised strong 
amendment, did, on Henry's declaration of war against 
France, voluntarily offer his services, which being ac- 
cepted, the King rewarded his loyalty with a lieutenancy. 
This, however, our Author deemed an unnecessary in- 
trusion; and suffered time to heal the wounds of dis- 
pleasure. In like manner, he passes over the courtship 
of ancient Pistol and Dame Quickley, and introduces 
them at once as husband and wife. 



Scene I. — page 319. 

Nym. For my part, I care not: I say little; but when time shall 
serve, there shall he smiles; 

Our Author, unquestionably, wrote — similks. Nym 
means, that his similies shall be so pointed as to insult 
Pistol ; who, though he is his superior in rank, must fight 
him, if he be not a coward. 

The person who read the part sounded the word — 
simmileS) which the transcriber took for smiles. 



KING HENRY V. 221 

Scene I. — page 321. 

X\m. I cannot tell; things must be as they may : men may sleep, 
and they may have their throats about them at the 
same time. 

Certainly a man cannot sleep without having the use of 
his throat ! Where, then, is the wonder ? I am certain 
the passage is corrupt, and that our Author wrote : 

men may sleep and have their thoughts about them at the 

same time. 

It is a common phrase, to say, of a thoughtful, artful 
person, — He has his thoughts always about him : he thinks 
in his sleep. 

If any Critic can explain the passage in its present 
state, I shall cheerfully erase my correction. 



Scene I. — page 322. 
Mrs. Quickley. 0, well-a-day, lady, if he be not drawn now! 

The folio reads: — "if he be not hewn now." Let us 
follow up sound and sense with the following: 
0, well-a-day, lady, if here he not hewing now! 

This is a phrase, not only apposite to situation, but to 
character. Here^s pretty hacking and hewing, is a com- 
mon saying, with females, on viewing a mob fighting with 
offensive weapons. The transcriber evidently mistook 
the sound of the words. 



Scene I.— page 350. 

Pistol. Look to my chatties, and my moveables: 

Let senses rule; the word is, Pitch and pay. 

Pistol seems to mean, that his wife should be governed 
by good sense, and not be too talkative ; that on pre- 



222 KING HENRY V. 

senting a pitcher of ale, she should demand payment, and 
have no farther words with her customers. Pitch was 
probably the contraction for pitcher. Even at the present 
day, publicans will say, pot and pay ; handing the pot 
with one hand, and extending- the other for payment. 



Scene IV.—- page 356. 

The Dauphin. ■ — 'tis best to weigh 

The enemy more mighty than he seems, 
So the proportions of defence are fill'd ; 
Which, of a weak and niggardly projection, 
Doth, like a miser, spoil his coat, with scanting 
A little cloth. 

We certainly should read — protection. The Dauphin 
compares a country badly defended to a miser, who, 
through penury, scants his tailor in cloth, to make him 
a coat ; and which, when he puts on, he finds not large 
enough to protect him from the inclemency of the wea- 
ther. Thus, the coat to him is useless; and, so must 
a small body of men prove; — they are but a poor 
protection to that part of the country which they are 
to defend, when opposed by a powerful army. 



ACT III. 

Scene II. — page 370. 
Nym. Pray thee, corporal, stay ; 



As I defended our Author in his making Bardolph a 
lieutenant, I must equally defend him on this nominal 
reduction. 

Nym, in the agitation of his mind, forgets every thing 
but self-preservation ; and having been long accustomed 
to use the more familiar title of corporal, to Bardolph, 
it is uppermost. This is what some critics would call, 
the high colouring of nature. 



KING HENRY V. 223 

ACT IV. 

Page 420. 

Chorus. The poor condemn'd English, 

Like sacrifices, by their watchful fires 

Sit patiently, and inly ruminate 

The morning's danger ; and their gesture sad, 

Investing lank-lean cheeks, and war-worn coats. 

I see no more beauty in Dr. Warburton's proposed 
emendation than in the present text, and of which Mr. 
Steevens says, change is unnecessary. The passage is 
certainly corrupt : our Author wrote : 



■ and their gestures sad, 



Inverting lank-lean cheeks, and war-worn coats. 

The cheeks of the poor English became, through 
poverty, inverted: that full ruddy cheek, more peculiar 
to the English than any other people, became lank-lean : 
their jaw-bones were projected, and the flesh inverted; as 
were also their war-worn coats ; which having become 
thread-bare, they turned inside out, and thus inverted 
them, that the unworn nap might the better protect them 
from the inclemency of the season. 

If their coats were lined with white serge, as is com- 
mon with the military, this colour, and their lank-lean 
cheeks, gave them perfectly the appearance of what we 
conceive of ghosts. — See the subsequent part of this 
speech : 

Presenteth them unto the gazing moon 
So many horrid ghosts. 

The compositor mistook the r for an s : — the change 
is trivial, but the sense of the passage considerable. 



Scene I. — page 438. 

K. Henry. * Steel my soldiers' hearts! 

Possess them not with fear ; take from them now 
The sense of reckoning, if the opposed number?; 
Pluck their hearts from them ! 



224 KING HENRY V. 

If the opposed numbers pluck their hearts from them, 
of what consequence is it, whether Henry's forces retain 
the sense of reckoning-, or be totally deprived of it ? — 
Absurdity glows upon the whole face of the passage. 
Mr. Theobald's correction ( lest the opposed numbers) 
certainly produces a much better sense than the present 
reading : the old copy conveys much the same meaning", 
though given in other words : 

4 ' Take from them now the sense of reckoning. 
That the opposed multitudes which stand before them 
May not appal their courage" 

But the first folio comes nearest our Author's original ; 
that is, a more trifling correction restores it to its pristine 
state. The old copy has — " Of the opposed numbers ;" 
and which the addition of af corrects. I read : 

take from them now 



The sense of reckoning; oft the opposed numbers 
Pluck their hearts from them ! 

Thus, we obtain a pure sense that defies controversy. 
The poor soldiers, when viewing, from time to time^ 
the phalanx of power ready to oppose them, were oft 
dismayed : but, that such fears may now entirely subside ; 
— now, when all Henry's views depend upon the ensuing 
battle, not only his fame, but personal safety, — he sup- 
plicates heaven to take from his men the sense of 
reckoning ; for oft the opposed numbers have plucked 
their hearts from them ; — that is, have taken from their 
hearts that glowing ardour upon which his hopes de- 
pended, and left them dispirited, and unfit for battle. 
But, the sense of reckoning being taken from them, 
they no longer view the foe as a power superior to 
themselves; and, constitutional courage steeling their 
hearts, then will they meet them, undauntedly, in battle. 

The tj in o/Y, was lost in sound by the following* word 
with the same letter. 



KING HENRY V. 225 

Scene II. — page 444. 

Dauphin. That their hot blood may spin in English eyes, 
And dout them with superfluous courage : 

We can scarcely imagine that our Author would give 
a word (as English) to a foreigner, which, if it be the 
case, is merely provincial: Avith much greater proba- 
bility, we may suppose he gave the foreigner an un- 
grammatical phrase; particularly as the verse would 
not admit the aid of a helping verb : I therefore believe, 
that both the true reading and explanation will be ob- 
tained by omitting the d, in dout, and which was intro- 
duced by the sound of e? ? in the preceding word. — I read : 

That their hot blood may spin in English eyes, 
And out them with superfluous courage ! 

i. e. Put them out. — He boasts, that the French soldiers, 
after losing as much blood as would blind the British 
troops, would still possess sufficient bravery to oppose 
fresh battalions. 



Scexe III. — page 460. 

K. Henry. Mark then a bounding valour in our English; 
That, being dead, like to the bullet's grazing, 
Break out into a second course of mischief, 
Killing in relapse of mortality. 

The word which should have been used, has but re- 
cently, I believe, been introduced into our Dictionary ; 
and being from the French, was unknown to the com- 
positor. We should read : 

Killing in relays of mortality. 

The respective distances, whether towns, villages, or 
on the plains, where the slain of the British army lay, 
he compares to posts, where relays of horses are left- to 
relieve others : and, thus, the slain lying unburied, would 
create a pestilence in each place, and thereby destroy the 
enemy. 



226 KING HENRY V, 

Scene IV. — page 464. 
Pistol. Quality, call you me? — Construe me, &e, 

The old copy reads,— 

Qualtitie calmie custure me. 
which is designedly nonsense; for Pistol, being totally 
ignorant of the French language, catches merely at sound, 
in the muttering of which, he knows not whether the 
Frenchman abuses him, or solicits mercy. He then, in his 
fiery manner, demands of the Frenchman, who is totally 
ignorant of the English language, Art thou a gentleman ? 
What is thy name? thinking, that words so plain must be 
understood, 

The old reading should certainly be restored; and 
which, though gibberish, has a much better effect than 
the sense, forced out of what our Author, designedly, 
made — nonsense. 

In a subsequent speech, when the Frenchman says, 
pardonnez moyl he sounds it partonnez moyl a manner 
in which many polite Frenchmen sound it at present, 
particularly in the northern parts of France : and by 
this mode of pronunciation, Pistol understands him to 
mean — a ton ofmoys. 



Scene IV.— page 466. 

Pistol. Moy shall not serve, I will have forty moys; 
For I will fetch thy rim out at thy throat, 
In drops of crimson blood. 

This passage is, perhaps, the most difficult in our 
Author's plays; for, even were the text correct, its 
meaning is so hid, that our best Commentators might 
have found it an arduous task to elucidate; as an in- 
timacy with the guttural manner in which many of the 
French sound r is absolutely necessary. And, indeed, 
this passage is also of very great importance to establish, 



KING HENRY V. 227 

in a certain degree, Shakspeare's erudition ; as it removes 
every doubt respecting his knowledge of the French 
language; for, assuredly, he must have been perfectly 
conversant in it, when he displays a discrimination in 
point of accent, which home education seldom attains. 

To give an idea of this passage, I have but one mode, 
and that is, by requesting the reader to call to remem- 
brance the Newcastle bur: — it is a sound which issues 
partly from the throat; what schoolmen call guttural; 
as in the word boggle. 

This peculiar sound many of the French catch in their 
youth, and, if rooted, they invariably use it in all words 
wherein an r occurs: at it our Author lashes, (it being 
an impure sound,) in making the French soldier give a 
full bur in the words — prennez misericorde, when im- 
ploring mercy from Pistol. But, Pistol ignorant of his 
meaning, anxious for the forty moys, and irritated at 
his discordant sounds, threatens the soldier, thus: 



I will have forty moys : 



Or I will fetch thy rill out at thy throat, 
In drops of crimson blood. 

And, indeed, Pistol's idea of the sound is well con- 
ceived, in comparing it to that of a stream, murmuring 
as it runs over its pebbled bed : In like manner, then. 
Pistol will make the stream of blood rill out at the 
Frenchman's throat. 

The //, in rill, as I should imagine, not being sufficiently 
long, had the appearance of an w, rather elevated above 
the ri, with which it was joined; thus, as the proofread 
rin, (merely a sound,) the corrector thought it a literal 
error, and made it rim. The word For — as in the text, 
seems to have been changed from Or — to give aid to the 
other correction. 

Dr. Johnson observes, that he knows not what to do 
with rim; that the word should be a monosyllable he is 
certain ; and that Dr. Warburton's proposed correction, 
ransome, is a word that could not have been corrupted, 

Q2 



228 KING HENRY V. 

Mr. M. Mason would read — ryno, but this, as Mr. 
Steevens says, is a word much more modern than the 
age of Shakspeare. But how could either a ransome, or 
ryno, be fetched out at the soldier's throat, in drops of 
crimson blood? The idea is absurd. 

The passage thus corrected, will, I hope, be as well 
understood, as I understand Pistol's meaning. 



Scene V. — page 472. 

Bourbon. Let us die instant! Once more back again. 

Mr. Malone's proposed emendation is, in my opinion, 
far superior to the present reading; however, I think it 
as far from the original as Mr. Steevens's compound 
word ; which, though it perfects the verse, affords a very 
imperfect illustration. 

In this scene, we find all the French characters in- 
troducing French phrases in their speeches. The 
Dauphin, in his, interlards them with English ; and, in 
the present, for Bourbon to introduce a French word, 
we cannot otherwise consider it than highly natural. 
The Dauphin considers all as lost ; and, in the height 
of his despair, exclaims — " let's stab ourselves." To 
this Bourbon will not listen; but, stimulated by re- 
venge, will sell his life as dear as possible ; thus, then, 
he calls on the Dauphin to aid him in re-attacking the 
enemy : — 

Let us die in sang! Once more back again. 
i. e. Let us die in blood; not fly like cowards ! once more 
back again. 

We have many derivations from sang, such as sanguine , 
sanguinary, &c. 

The word being unknown to the compositor, he made 
the best he could of it. Omit the first t, and substitute 
a g, for the terminating letter, and you have sang. 



KING HENRY V. 229 

Scene VIII.— page 489. 

Feuellen. 1 will give treason his payment into plows, 

I believe we should read : 

1 will give treason his payment in two plows, &c. 

Meaning: I have received one blow from him, but I 
will pay it with interest; he shall have two from me. 

Since I wrote this note, I find that Mr. Heath pro- 
posed the same reading. It is somewhat extraordinary, 
that most injudicious alterations have been made in our 
Author's text, and conspicuous restorations refused ! 



ACT V. 

Scene I. — page 518. 



K.Henry. 1 love thee, Kate: by which honour I dare 

not swear, thou lovest me ; yet my blood begins to 
natter me, that thou dost, notwithstanding the poor 
and untempering effect of my visage, 

I believe our Author wrote — iintempting. Meaning : 
that his visage is homely, and not adapted for conquest : 
it would not tempt a lady to fall in love with; but, not- 
withstanding, he says,— " I think you love me." 



dFtrgt pit* of itittfi fitting vi 



ACT I. 

Scene I. — ^.g-e 10. 
Bedford. Than Julius Caesar, or bright- 



Conjecture may supply many illustrious names to per- 
fect this broken verse ; but it is a query, whether Shak- 
speare ever designed a second comparison. 

I am of opinion, that the person who recited to the 
transcriber sounded the a in Ccesar^ as the open o; and, 
with his affected manner, read Cces — or; and thus, the 
or being emphatically pronounced, the transcriber wrote 
Ccesar, or. Omit the superfluous or, and a clear sense 
is obtained : 

A far more glorious star thy soul will make, 
Than Julius Caesar bright. 

Thus, he says, the soul of Henry will make a far 
more glorious star, than Julius Caesar, (called the 
Julium Sidus,) which is a bright star. The break in 
this verse is occasioned by the abrupt entrance of the 
messenger. 



Scene II. — page 24. 
Pucelle. Out of a deal o/old iron I chose forth. 

This is not the language of inspiration ; nor this the 
language which makes the Dauphin exclaim : — " Thou 



FIRST PART OF KING HENRY VI. 9%\ 

hast astonished me with thy high terms." — No! but 
poor and mean; as though a brewer's porter said, — 
This stro??g hoop, out of a deal of old iron I chose. But 
the blunder belongs either to the transcriber or com- 
positor : I could show sufficient cause to lay it to either, 
but it were tedious, particularly as my correction must 
prove incontrovertible. The Author wrote : 

here is my keen-edg'd sword, 



Deck'd with five flower-de-luces on each side; 

The which at Touraine, in St. Katherine's church-yard, 

Out of ordeaVd old iron t-ehose forth. 

Her sword had stood the ordeal, or test of many 
battles : it had belonged to some famous warrior, whose 
remains lay in St. Katherine's church-yard; and with 
whom his sword and armour had been interred. To 
temper iron into steel, it must go through fire and 
water ; and, as both sword and armour had passed the 
ardour of heat and frigidity of water, so they became 
ordeaVd. 

The text, thus restored, may certainly be said to con- 
tain " high terms." 



Scene IV. — page 39. 
Talbot. Rather than I would be so piVd esteem'd. 

Our Commentators strained every nerve to make some- 
thing of this passage ; but, indeed, in vain ; — for, torture 
the words — so piVd, in their present situation, as you 
will, they bid defiance to all sense. That the Com- 
mentators knew Talbot's meaning-, is undeniable; for 
the preceding part of the speech speaks, that he would 
not submit to the indignity Avhich the French strove to 
impose on him. 

Were it possible to extract a meaning- out of the pre- 
sent text, I -should be sorry to disturb it : but even my 
predecessors acknowledge the impossibility, and propose 
various readings, though all have been equally rejected. 



532 FIRST PART OF KING HENRY VI. 

Mr. M. Mason would remedy the evil by reading vile, or 
ill-esteemed. — Mr. Steevens would read — Philistin'd. — 
Mr. Malone proposes — so pile-esteem' d, half Latin, half 
English. So vile-esteemed is certainly the most natural 
reading ; but as none of these will be admitted, and as 
the text is evidently corrupt, I am strongly inclined to 
think our Author wrote : 

Rather than I would be sop-oWd esteem'd. 

Meaning : rather than he should be esteemed a person, 
who, for the sake of liberty, would let any proposition 
made by the enemy glide down his throat. An oil-sop, 
in Shakspeare'stime, was, I suppose, applied as familiarly 
to a weak-hearted, credulous person, as milk-sop is, at 
the present day, to a soft, effeminate man of shallow un- 
derstanding. 

I am supported in this supposition by the strongest 
probability; but the Critic must decide. 

So piVd, has closely the same sound as sop-oiVd: an o 
is only required to correct the present corrupt reading. 



Scene IV. — page 46. 
Pucelle. Go, go, cheer up thy hunger starved men ; 
The old copy has — hungry -starved. The alteration 
is Mr. Howe's ; but I am inclined to think the passage 
still corrupt. A person who is hungry, must certainly 
starve, if he cannot obtain food : — why, then, should we 
have such gross tautology compounded ? I believe our 
Author wrote : 

Go, go, cheer up thy hungry staid men; 

Thus, she casts a reflection on the open, cheerful, and 
perhaps dissipated, conduct of the British military, when 
in the days of victory they gave full scope to their 
pleasures; but who, now, had become staid, or sober, 
from starvation, 



FIRST PART OF KING HENRY VI. 233 

The person who read to the transcriber gave but a 
slight look at the word staid; and, as it followed hungry, 
read — starved. 



ACT III. 



Scene II. — page 98. 

Talbot. That hardly we escap'd the pride of France. 

I am of Mr. Theobald's opinion, that pride is " an 
absurd and unmeaning expression :" nor do the examples 
introduced by our Commentators bear sufficient force 
to be called parallelisms. I am confident our Author 
wrote : 

That hardly we escap'd the bride of France. 

Alluding to La Pucelle, who had been so recently 
allied to the interest of France ; and farther, supposed 
to be, at that period, the intended bride of the Dauphin. 



ACT V. 

Scene III. — page 157. 

Suffolk. Ay; beauty's princely majesty is such, 

Confounds the tongue and makes the senses rough. 

It seems rather curious, that beauty's princely majesty 
should make the senses of an accomplished statesman 
and warrior rough! In my opinion, the word is too 
rough to retain its place. 

Whether the Author designed the verse to rhyme or 
not, I cannot say ; but, from the letters of which rough 
is composed, I believe the original read : 

Ay ; beauty's princely majesty is such, 
Confounds the tongue, and makes the senses touch. 



234 FIRST PART OF KING HENRY VI, 

Meaning : The power of beauty is such, that it over- 
comes the speech; and all the senses touch: — i.e. meet 
together ; they concentrate in the eyes of the observer, 
to gaze with admiration on the lovely object. 



Scene III. — page 163. 

Suffolk. Bethink thee on her virtues that surmounts 
Mad, natural graces that extinguish art j 

This is a strange phrase in praise of beauty! The 
word mad, torture it as you will, cannot afford any mean- 
ing to correspond with either the preceding or subse- 
quent part of this speech : and, surely, a wild girl, or a 
mad-cap, according to the forced elucidation of Mr. 
Steevens, are not characteristics adapted to the cele- 
brated Margaret, of whom Henry gives the following 
glowing picture : 

" Her sight did ravish ! but her grace in speech 
Her words y-clad with wisdom's majesty, 
Makes me from wondering, fall to weeping joys:" 

See Second Part of King Henry VI. Act I. sc. i. 

One error often creates many; and in the passage 
under consideration, by a typographical error, or mis- 
print, the punctuation has been obliged to be changed. 
I read, as I am certain the Author wrote : 

Bethink thee on her virtues that surmount 
Man: natural graces that extinguish art; 

Thus, Suffolk makes her virtues rise to the height 
of female perfection ; and her graces and unaffected man- 
ners above all the powers of art. 

It requires but an n in place of the d to correct the 
error. 



&uovto Part of mm f^nrg vl 



ACT I. 

Scene III.— page 203, 

First Pet. My masters, let's stand close; my lord protector wilt 
come this way by and by, and then we may deliver 
our supplications in the quill. 

The Commentators admit the phrase — in the quill, to 
be inexplicable : some attempts, however, are made to 
illustrate it, but they are so weak that common sense 
must spurn them. In attempting then to produce a word 
to form a context with the rest of the passage, and which 
affords a natural and familiar meaning, I think I only do 
my duty ; being convinced that, in the quill, or, in quill, 
as Sir T. Hanmer has the passage, are equally corrupt, 
and never came from our Shakspeare. I read : 

My masters, let's stand close; my lord protector will come this 
way by and by, and then we may deliver our supplications 
in quiet. 

Now, in defence of this reading, as the Author's, I 
have to say, that if the e be elevated above the other 
letters which help it to form a word, it appears an I; and 
if the t be not perfected, by crossing it, then it remains 
an /, — who then, in the hurry of writing, has not done 
both? These plays, from their innumerable errors, 
strongly testify that, to such carelessness, many such 
errors must be attributed. 

In respect to the sense which this correction produces, 
it is perfectly familiar: When a number of persons await, 



236 SECOND PART OF KING HENRY VI. 

in an anti-chamber, with petitions, in order to present 
them to the great personage expected to pass, every one 
is anxious to be first, particularly where there are many 
on the same business : and here we may judge that the 
petitioners were not a few. The first petitioner then ad- 
dresses the others, and tells them to stand close, that is, 
to range themselves, and thus, avoiding confusion, they 
may deliver their respective petitions in quiet — in due 
form, without impeding the passage of the Protector 
and his attendants. 



Scene III. — page 205. 

Peter. That my master was ? No, forsooth: my master said, That 
he was ; and that the king was an usurper. 

This is palpable nonsense : The old copy reads, — 
u that my mistress was ? " The present emendation was 
supplied by Mr. Tyrwhitt, and sanctioned by Mr. M. 
Mason. 

Queen Margaret demands, "Did the Duke of York 
say, he was rightful heir to the crown ?" To which 
Peter is made to reply — That his master was ! So Peter's 
master is heir to the crown! The old copy made his 
mistress — and Mr. Tyrwhitt has made his ?nasier heir to 
the crown. It may be said, that Peter afterwards con- 
tradicts himself; but this will never answer to reconcile 
the blunder of either a transcriber or compositor. I 
read, as I am confident our Author wrote : 

Q. Margaret. What say'st thou? Did the Duke of York say, 
he was rightful heir to the crown? 

Peter. That, my mistress, was : — No, forsooth : my mas- 

ter said that he was, and that the King was 
an usurper. 

Peter, by the words — rhy mistress, addresses his mis- 
tress, (the Queen :) but will not vouch for it, that the 
Duke of York made use of the expression, because he 
did not hear him ; but, that his master said, u that the 
Duke of York was rightful heir to the crown." 



SECOND PART OF KING HENRY VI. 237 

The whole tenor of the speech was misunderstood by 
the transcriber, and equally so by the Commentators. 



Scene III. — page 211. 

Buckingham. her fume can need no spurs, 

She'll gallop/asf enough to her destruction. 

The folio reads — u farre enough,' 1 which Mr. Malone 
says, was corrected by Mr. Pope. 

But why should Mr. Pope (if he had not the authority 
of some more authentic copy) alter the word ? Surely, 
the word farre } or far — conveys as strong a sense as the 
passage required. The Duchess of Gloster, hated by 
Queen Margaret, has received from her a gross insult : 
Buckingham is one of the party intent on the destruction 
of the Duchess: perceiving, then, that her spirit threatens 
revenge for the insult, he observes, — " She'll gallop far 
enough to her destruction." Meaning: that she will 
not stop, until she gets that length where destruction 
awaits her. In my opinion, this sense is superior to what 
we derive from the present text. 



ACT II. 
Scene III. — page 245. 



Suffolk. Thus droops the lofty pine, and hangs his sprays; 
And Eleanor's pride dies in her youngest days. 

As this passage is acknowledged to possess no meaning, 

I think it may be made to possess a very strong one, by 

changing the pronoun. Let it be observed, that Suffolk 

addresses himself to Margaret, and to his policy she 

owes her present dignity. I would read : 

Thus droops the lofty pine, and hangs his sprays; 
Thus Eleanor's pride dies in your youngest days. 

Meaning : in the youngest days of Queen Margaret's 



238 SECOND PART OF KING HENRY VI. 

ACT IV. 

Scene VII.— page 348. 

Say. When have I aught exacted at your hands, 

Kent to maintain, the king, the realm, and you ? 

Most of the Commentators think, that Kent slipped 
into the passage without permission ; and there it has 
remained, though Mr. Steevens would remove it, and 
place Bent in its respectable situation. However, I 
think Kent may retain its place, provided we add a note 
of interrogation, and read thus : 

When have I aught exacted at your hands, 
Kent? — To maintain the king, the realm, and you, 
Large gifts have I hestow'd on learned clerks, 

Words cannot possibly convey a clearer meaning. — 
Thus, all tautology is removed : they are Kentish men 
that he addresses ; and the pronoun becomes absolutely 
necessary. Farther elucidation would be an insult to 
common understanding. 



Scene X. — page 367. 

Iden. Sword, I will hallow thee for this thy deed, 

And hang thee o'er my tomb, when I am dead: 

The mode of expression observable in this passage, is 
not, in my opinion, Shakspeare's. The imperative mood 
he certainly adopted, but which being misunderstood 
by either the transcriber or compositor, the more familiar 
mode of addressing the sword was inserted. I read, 
as I believe our Author wrote : 

Sword, I will hallow thee for this thy deed! 
And hang thou o'er my tomb when 1 am dead : 

Thus, in addressing the sword, he says, — And hang 
thou; i. e. do thou hang o'er my tomb, &c» The sword 
is made the active agent of Iden's orders : it is to hang 
itself o'er the tomb, and there to remain as a trophy. 



WW* $ai* & %ttm &ttwg vi 



ACT I. 

Scene I. — page 21. 

K. Henry. Whose haughty spirit, winged with desire, 

Will cost my crown, and like an empty eagle, &c. 

This corrupt passage has occasioned much controversy. 
Dr. Warburton reads — coast; and is supported in it by 
most of the Commentators. I, however, am of opinion, 
that neither cost nor coast came from the Author; and, 
from the context, must believe the original read : 

Whose haughty spirit, winged with desire, 
Will court my crown, &c. 

Already, the crown is promised to York: but not 
until after the death of Henry can he enjoy it. Now 
Henry imagines, that the impatience of York will not 
await the event of his death ; but, like one anxious to 
possess the wife of another, will, winged with desire, 
court it during his life-time; and, influenced by passion, 
like an empty eagle panting for food, will rapaciously 
seize it the first opportunity. 



Scene III.— page 32. 

Rutland. So looks the pent-up lion o'er the wretch 
That trembles under his devouring paws : 

This is the first time that I have either heard or read 
that a lion devours with his paws : he may tear and de- 
stroy, but cannot be said to devour. I am certain the 



240 THIRD PART OF KING HENRY VI. 

heedless transcriber wrote what was most familiar to 
his own idea, and gave the incongruity we have in this 
passage. I read, as I believe our Author wrote : 

So looks the pent-up lion o'er the wretch 
That trembles under his destroying paws : 

The paws destroy, they tear the body to pieces, and 
then the lion gluts upon his prey. 



ACT V. 

Scene V. — page 196. 

Glosteu. Why should she live to fill the world with words? 

" To Jill the world with words," is giving her great 
scope of tongue, indeed ! We should read : 



Why should she live to file the world with words 



Alluding to the grating language of a violent woman. 
To grate ) is to file ; a grater and a file are both instru- 
ments to reduce a solid body by rubbing. This hyperbole 
may be taken literally; but Gloster's meaning is, that 
her cutting tongue annoys the world; and which he, no 
doubt, experienced on many occasions. 



mmg lUtgatft in 



ACT I. 

Scene I. — page 277. 

Gloster. And his noble queen 

Well struck in years ; 

Mr. Steevens remarks the oddness of the expression, 
"Well struck in years ;" but makes no attempt to correct 
it : the verse is also defective in measure. 

It appears to me that the terminating syllable of the 
original word, having had a sound not unlike in, (which 
followed,) it was lost. I read : 

And his noble queen 

Well stricken in years ; 

Thus, we gain a familiar phrase, and the measure of 

the verse is perfected. The words stricken in and struck 

in, display at once, in my opinion, the manner in which 

the error took place. As for examples of the phrase, 

many can be obtained, let one, from Genesis suffice : 

" Abraham and Sarah were old and well stricken in years.''' 

Here we have the phrase so perfect, that one would 
imagine Gloster had taken it from Sacred Writ. 



Scene I.—- page 277. 

Gloster. He that doth naught with her, excepting one, 
Were best to do it secretly, alone. 

The direct demand of Brackenbury, — " What one, my 
lord?" is a convincing proof that we should read: 



942 KING RICHARD III. 

He that doth naught with her, excepting one, 
Were best to do it secretly : — ay, one. 

For though Gloster, in the antecedent verse, says, 
li excepting one." Brackenbury, most probably, would 
have disregarded it; but for the emphatical repetition. 



Scene I. — page 278. 
Gloster. We are the queen's objects, and must obey. 
Gloster wishes to impress on the mind of Brackenbury, 
that Clarence and himself are the marked objects of the 
Queen's hatred ; and, therefore, that they must act with 
great circumspection, and prove obedient to her dictates. 
In this, the artful Gloster has one particular view, which 
is, to make Clarence believe that he has already fallen 
under the lash of the Queen's vindictive malice; and 
that his being: sent to the Tower is the result of her 
influence over the King. From these considerations, 
and the very poor effect of the word abjects, I am strongly 
of opinion, that an a was in the o compartment, (for 
they are next each other,) and that, instead of objects, 
by taking a wrong letter, the compositor made it objects ; 
a word by no means corresponding with the haughty 
and violent Gloster. 



Scene III. — page 308. 

Queen Margaret. Ah, gentle villain, do not turn away ! 

Gloster, well acquainted with the grating language 
that Margaret is capable of uttering, and knowing how 
well he merits her cutting rebukes, is about to retire ; 
which she perceiving, determines to impede his depar- 
ture. It is not then the words — u Ah, gentle villain,^ 
that she uses on the occasion, but — Ah, gently, villain ! 
meaning, — Stop, villain! — not so fast> villain! The 



KING RICHARD III. 243 

old mode of spelling' gently ', was gentlie : the i was lost, 
and thus gentle. 

Margaret has, in a preceding speech, thus termed 
Gloster, — 

" A murd'rous villain, and so still thou art." 

Can we then suppose she would, even ironically, call 
him a gentle villain ? 



ACT III. 

Scene I.— page 368. 

Buckingham. You are too senseless-obstinate, my lord, 
Too ceremonious, and traditional : 
Weigh it hut with the grossness of this age, 

Weigh it ! — Weigh what ? I cannot perceive for what 
purpose the weights and scales are required. The 
passage, to my understanding, appears incomprehensible ; 
or, at best, whatever construction may be forced, it 
makes the great Buckingham a very splenetic character. 

There is a material difference between argument 

tending to convince, and pointed insult. Can we suppose, 

that a nobleman of the first rank would use the language 

laid down in the present text, and to so high a dignitary 

of the church as a Cardinal ; or, indeed, to one infinitely 

his inferior? " You are too senseless-obstinate " means an 

obstinate fool I and " Too ceremonious and traditional" is, 

in my opinion, very few removes from — a superstitious 

blockhead! I am convinced, Shakspeare never gave 

such phrases to Buckingham. In short, the text is 

grossly corrupt : no less than five errors appear in the 

passage. I read : 

You are to sense, less obstinate, my lord: 

Too ceremonious and traditional 

Weight, is but with the grossness of this age : 

In these five corrections it will be perceived, that 
there is but the addition of one letter : the t in the word 

R 2 



244 KING RICHARD III. 

weight, is taken from the it, and an s put in its place. 
Though the text, thus corrected, elucidates itself, I 
shall give it a familiar construction, merely to show that 
the Duke argues with politeness and moderation. 

Convinced that the Cardinal, however prejudiced, is 
open to conviction, that which pure argument can de- 
monstrate will be duly regarded by him, and all cere- 
monial and traditional weight be left for the vulgar and 
untutored minds of the age. 



Scene I.— page 371. 

Gloster- Thus, like the formal vice, iniquity, 
I moralize two meanings in one word. 

Dr. Warburton has taken no small pains to illustrate 
this passage. That a character called the Vice was in- 
troduced in the Old Moralities, he admits ; but the formal 
vice, iniquity, he rejects as being corrupt, and the inter- 
polation of some foolish players ; for, that the vice was 
not & formal, but a merry, buffoon character, he therefore, 
would read, — 

Thus, like theformal-wise Antiquity. 

The adjective formal, according to its general accep- 
tation, is totally unconnected with vice. Mr. Upton 
says, " Vice seems to be an abbreviation of Yice-devil, 
Yice-roy, Yice-doge :" from which we must infer, that 
the Old Vice was the Devil's deputy: yet, behold how 
Commentators differ. Mr. Douce, (who has been inde- 
fatigable in his researches,) in speaking of the Vice, says, 
" He was a bitter enemy to the Devil, and a part of his 
employment consisted in teazing and tormenting the poor 
fiend on all occasions." If the Reader takes the trouble 
to examine Johnson and Steevens' edition of Shakspeare, 
1813, he will find nearly ten pages of small print intro- 
duced to illustrate the formal vice ; a character, which 
the indefatigable researches of the Commentators have 



KING RICHARD III. 245 

never been able to ascertain; nor even, that a plurality 
of Vices were ever characterized in scenic representation. 

Indeed, had the text specified any other Vice than 
the formal vice, all doubts would be removed from my 
mind of the legitimacy of particularizing that Vice ; and 
it would also have been an incontrovertible evidence, that 
a plurality of Vices were attached to the Old Moralities, 
But the word formal has not only the sound, but also the 
letters, with the addition of an /, which form two words 
that give energy to the passage, and correspond both with 
the mind and body of the diabolical speaker. 

But let me hasten to display the error, and thereby 
confirm the literati, that a Vice, called the formal vice, 
was never introduced in the Old Moralities ; nor, as I 
may venture to say, ever met with in any author, save 
in the corrupt passage wherein we now behold it. 

More than once we hear Richard descanting on the 
imperfect state of his body : he well knows his appear- 
ance to be hideous, and he seems to glory that his mind 
corresponds with it. Thus, alike vicious in mind and 
body, he views the external ; and feeling the internal 
workings of a guilty, hypocritical mind, he, in few. but 
expressive words, paints himself a devil : 

Thus, like the form, ally'ice; iniquity, 
I moralize; — two meanings in one word. 

Thus Gloster, though he moralizes on his own hypo- 
crisy and falsehood, speaks so clearly the language of 
truth, that elucidation is unnecessary. 

The word formal, according to the old mode of spell- 
ing, was formall : surely, then, any person can perceive 
how the error originated : the compositor having omitted 
to put a space between/orwz and all, joined the two words ; 
by which the sequent word, vice, became a person, and 
formal its adjective. 

But what proves the error beyond controversy is, that 
iniquity is made the formal vice : see the reading : — 



246 KING RICHARD III. 

"Thus, like the formal vice, iniquity." so that Gloster 
moralizes like iniquity; instead of which, it is his own 
iniquity that he moralizes, and produces two meanings 
from one word. 



Scene I. — page Sib. 
Gloster. Short summers lightly, have a forward spring. 

Dr. Johnson interprets the word lightly, to mean— 
commonly, in ordinary course. I profess, I cannot recon- 
cile such a meaning. The text might require this forced 
aid to make lightly of some use, but the proverb is per- 
fectly understood without it. 

That the word lightly, is corrupt, in the situation it 
here maintains, I am convinced; therefore, I would read: 

Short summers rightly ', have a forward spring. 

Meaning: Short summers naturally, have a forward 
spring : or, if the word lightly commenced the verse, it 
affords an excellent sense. Gloster marks the Prince's 
words; "Lightly," says he, as much as to say — Stop 
there, or don't be too certain. — u Short summers have a 
forward spring." 

Thus, then, I would read, — 

Lightly : — short summers have a forward spring. 

He has already planned measures to prevent the Prince 
from winning his ancient rights in France. 



Scene IV. — page 393. 
Ratcliff. Make haste, the hour of death is expiate. 
We should read : 

Make haste, the hour of death is :— expiate. 

i. e. By death expiate your offences, which occasions 
your premature death. 



KING RICHARD III. 24^ 



ACT IV. 



Scene IV. — page 458. 

K. Rich. 'Faith, none, but Humphrey Hour, that call'd your grace 
To breakfast once, forth of my company. 

Mr. Steevens has been at considerable labour to illus- 
trate this very obscure passage ; but, in my opinion, 
neither the hunger of the Duchess, nor the followers of 
Duke Humphrey, entered the imagination of our Author, 
when adapting* this passage to the satirical turn of 
Richard. 

To a highly corrupt mind, Nature has given Richard 
a deformed body ; the most conspicuous part of that 
deformity, a hump-hack. Indeed, many are the epithets 
used to denote this protuberant mark of Nature's dis- 
pleasure: crook-backed Richard, is perfectly familiar: 
hump-backed, equally so ; and, in the preceding speech, 
the Duchess, speaking of him, says — "that foul bmich- 
Zwc&'dtoad." 

That Richard jests at his own deformity, we have 
several instances; he seems perfectly satisfied that, in 
having a mind to correspond with the external, com- 
punction never starts at any act of violence which can 
raise him to the pinnacle of greatness. But, however 
satisfied he may seem with Nature, he is not equally so 
with his mother, — who, from his birth, has frequently- 
cast reflections on his unsightly person ; therefore, to 
retort those reflections on her, in whose womb he was 
moulded, he reflects upon his own deformity. 

There is not a more familiar epithet used, either in 
speaking of, or in despitefully addressing, a hump-back' 'd 
person, than to call him — Humpy, Now, this is what 
Richard aims at. The Duchess says, — 

"What comfortable hour canst thou name, 
That ever grac'd me in thy company ?" 



248 KING RICHARD III, 

To which Richard replies : 

'Faith, none, but Humpy's hour, — 

Meaning : the hour of his birth, and which, naturally, 
was a most comfortable hour to her, by being delivered 
of her burden, which, she bore " in torment and in 
agony" See the two preceding speeches of the Duchess, 
and Richard's answer : 

Duchess. — -" I have staid for thee, 

God knows, in torment and in agony. 

K. Richard. And came I not at last to comfort you? 

Duchess. No, by the holy rood, thou know'st it well, 

Thou cam'st on earth to make the earth my helL 
A grievous burden was thy birth to me;" 

Thus, must the hour of Richard's birth have proved a 
comfortable hour to his mother; and, as that hour was 
in the morning, his cries for nourishment awaking a 
similar craving in herself, they breakfasted together ; and 
thus, he calVd her grace to breakfast once. 

The passage having been totally misunderstood, 
Humpy'' s hour was made, (by either the transcriber or 
compositor) Humphrey' 's hour. Indeed, from similarity 
of sound, the former might have written the word as in 
the present text. 

Humpy was, no doubt, a nick-name given to Richard 
by his relatives. 



ACT V. 



Scene III. — page 497. 

Stanley. Of bloody strokes, and mortal-staring war. 

However big war may look, or however fatally he 
may stare on his victims, I cannot think, that mortal- 
staring has a corresponding affinity with bloody strokes, 
and believe we should read : 

And put thy fortune to the arbitriment 
Of bloody strokes, and mortal-staving war, 



KING RICHARD III. 249 

To stave, is to fight with staves. In a subsequent 
part of this scene Richard gives particular orders re- 
specting his staves : 

" Look that my staves be sound and not too heavy." 

The r and v are almost similar in writing. 



Scene III. — page 502. 
Ghost of Clarence. I, that was wasli'd to death with fulsome wine, 

The ghost of Clarence compares his death to that of 
a person who, by an excess of intoxication, was suffocated. 
But the word — washed, is not our Author's. We should 
read : 

I, that was wak'd to death with fulsome wine. 

In a state of intoxication, he awakened in the world of 
spirits. Wine, the ghost calls fulso me, from its surfeiting 
effects when taken immoderately. 



Scene III. — page 505. 
Ghost of Buckingham. I died for hope, ere I could lend thee aid: 

Buckingham's intention was to have regained that 
place in Richard's confidence and estimation, which he 
had formerly held. For this purpose, he raised con- 
siderable forces, and was on his way to join him, when 
most of his troops deserted him. In this helpless state 
he was made prisoner, and, without being suffered to 
plead his justification, was conveyed to the block. This 
is the sense which the text should convey, but a word in 
the verse is corrupt. We should read : 

I died, sore hope, ere I could lend thee aid. 

Thus, it js to the ghost of Buckingham an afflicting 
remembrance. In life, he hoped to have displayed his 
loyalty to Richard's cause ; and that sore hope proved 
his destruction. 



250 KING RICHARD III. 

Scene III. — page 513. 

K. Richard. Then he disdains to shine; for, by the book, 
He should have brav'd the east an hour ago : 

Mr. Steevens's idea of comparing- the Jinery with 
which a tailor invests his customers, to the brilliant rays 
of the sun which embraces the earth, is, in my opinion, 
extremely weak, and too forced to prove a satisfactory 
elucidation. In fact, I think the Author's idea totally 
obscured by the word — braved. 

At that part of the passage where Richard says — by 
the book, we would imagine he swore by the Holy Writ: 
but this is not the case; he alludes to the calendar, 
which he has been examining, to see at what hour the 
sun should rise. The passage, I am confident, originally 
read : 

Then he disdains to shine; for, by the book, 
He should have brac'd the east an hour ago : 

His rays should have encircled the eastern hemisphere 
an hour ago : the allusion is to a cincture worn round 
the body. 

It may be taken in another sense : The earth, relaxed 
by the night's dew, the sun should have braced by its 
cheerful rays. 



iitttg #wr2 vm. 



ACT I. 

Scene II. — page 26. 

Buckingham. I am the shadow of poor Buckingham; 

Whose figure even this instant cloud puts on, 
By dark'ning my clear sun. 

This passage is evidently corrupt ; but Dr. Johnson 
has attached error to the wrong word ; he would read,— 
puts out; and Mr. Steevens — pouts on. The horizon is 
overspread with many clouds, and of various hues : a 
dark cloud certainly obscures Buckingham from royal 
favour, but this instant cloud seems to obscure all sense. 
Surely, the original read : 

I am the shadow of poor Buckingham, 
Whose figure even this upstart cloud puts on, 

Thus, the allusion is directly pointed at the Cardinal. 
The confidence which the King formerly reposed in 
Buckingham being now transferred to Wolsey, Buck- 
ingham considers himself but the shadow of what he 
was; and that the Cardinal, who, though but as a cloud 
upstarted from the exhalations of a degenerate soil, is 
become the substance. Thus, as a cloud obscures the 
sun from the earth, so doth Wolsey obscure him from 
the sunshine .of royal favour. 

However confident that upstart is the original reading, 
we gain additional proof from Buckingham's own words, 
even in a preceding part of this scene, when, as if the 



252 KING HENRY VIII. 

name of Wolsey were as poison to his lips, he avoids 

mentioning it : 

" but this top-proud fellow, 

(Whom from the flow of gall I name not, but 
From sincere motions)" 

The words, upstart and instant, are not much unlike in 
writing; particularly, if the down stroke of thep be not 
sufficiently long, it has the appearance of an n; the 
terminating syllable, tart and taut, have scarcely any 
difference. 



Scene II. — page 33. 

Q. Katharine. —and it's come to pass, 

That tractable obedience is a slave 
To each incensed will. 

Those who were formerly most submissive in their 
duty, are now, by the instigations of the disaffected, be- 
come violently riotous. 



ACT II. 
Scene III. — page 77. 
Aw ne. Yet, if that quarrel, fortune, 

Sir Thomas Hanmer reads — " That quarreller, for- 
tune." This, certainly, has more meaning than the 
present text, but I do not think either correct. I read: 

Yet, if that queller, fortune, 

t. e. That appeaser, that subduer, fortune. Thus, fortune 
maintains two of her strongest attributes. As for the 
word, it is familiar. See Second Part of Henry IV. 
Act II. sc. i. where Hostess Quickley calls Falstaff, a 
man-queller, and a woman- queller. And in Troilus 
and Cressida — we have, — 

"Come, come, thou hoy-queller, show thy face;" 



KING HENRY VIII. 253 

The transcriber begun to write queller, but his thoughts 
turned to the more familiar word — quarrel. 



Scene III. — page 80. 

Old Lady. You'd venture -an emb ailing: 

I believe we should read — empaling. 
The Old Lady's meaning, though highly indecorous, 
is very obvious. See Mr. Ritson's note. 



Scene III. — page 85. 
Old Lady. How tastes it? is it bitter? forty -pence, no. 

Neither forty-pence, nor two-pence, can give a rational 
meaning to this passage. However jocular the Old Lady 
may be, I think she should be better understood. The 
word — bitter, alludes to taste ; must it not then be de- 
signed for the sense of tasting ? I read : 

How tastes it? is it not bitter for thy sense ? No : 

This is a rational question, and well understood, as 
being allusive to her good fortune. 

For thy sense— Forty -pence, the sound is almost the 
same. 



Scene IV. — page 91. 

Q. Katharine. What friend of mine 

That had to him deriv'd your anger, did I 
Continue in my liking ? Nay, gave notice. 

The Queen, wishing, on this particular point, to attract 
the attention of the King, calls him to a due observance 
of her conduct on such occasions. The text is corrupt ; 
we should read : 



254 KING HENRY VIII. 



•What friend of mine 



That had to him deriv'd your anger, did I 
Continue in my liking ? Nay, give notice, 



i. e. Nay, give attention. 



Scene IV. — page 91. 

Q,. Katharine. or my love and duty, 

There is a gross error in this phrase ; but which can 
be easily rectified by a slight transposition. Read : 

If, in the course 



And process of this time, you can report, 
And prove it too, against mine honour aught, 
My bond to wedlock, my love and duty, or, 
Against your sacred person, &c. 



Scene I. — page 95. 

Q. Katharine. You have, by fortune, and his highness' favours, 
Gone slightly o'er low steps ; and now are mounted 
Where powers are your retainers: and your words, 
Domestics to you, serve your will. 

A single letter has rendered this passage corrupt, 
and, consequently, inexplicable. We should read : 

Where towers are your retainers : and your words, 
Domestics to you, serve your will. 

Thus, the invective is strongly aimed, and too plain 
not to be well understood by the haughty Cardinal. 
You have, (says the Queen,) through the blessings of 
fortune and the favours of the King, been rapidly ad- 
vanced from a low state to that of the greatest influence ; 
nay, so highly are you mounted, that towers are at your 
command; (alluding to his authority, that could send 
any person to the Tower,) and your words, as servants, 
immediately obey your orders : that is, judicial pro- 
ceedings are never considered, but your words are, with 
silent submission, instantly obeyed. 



KING HENRY VIII. 055 

Scene II. — page 126. 

Wolsey. 1 do profess, 

That for your highness' good I ever labour'd 
More than mine own; that am, have, and will be. 
Though all the world should crack their duty to you, 

This passage has received censure, and, indeed, most 
justly: no attempt, however, has been made towards 
its reformation, except by proposing' the expulsion of 
the words — that am^ have, and will be: and yet, by 
reading aim instead of am, and has for have, we obtain 
the Cardinal's meaning : 



I do profess, 



That for your highness' good I ever labour'd 
More than mine own : that aim, has, and will be, 
Though all the world should crack their duty to you, 
And throw it from their soul. 

Meaning : that the great aim, or object of his labours, 
has been for the good of his majesty ; and that it will 
ever continue to be the same, though all the world should 
rebel against him. 

The dot over the i, in the word — aim, being omitted, 
the compositor read am : this error induced the corrector 
to change has to have; thinking, that the Cardinal 
meant — I am, have been, and will be. 

It, however, appears to me, that these errors induced 
the corrector or editor to make a transposition of two 
words ; by the restoring of which, to their proper place, 
I am more perfectly convinced we recover the original 
reading: 



that aim has, and will be 



To you, though all the world should crack their duty, 
And throw it from their soul ; 

By this arrangement, the measure of the verse will 
be found perfect : according to the present text, it ex- 
ceeds its limite. 

When a word or two, at the commencement of a line, 
break, the compositor frequently places them at the end, 
depending on memory to restore them. 



256 KING HENRY VIII. 



Scene II. — page 187. 

Chancellor. But we all are men, 

In our own natures frail ; and capable 

Of our flesh, few are angels: out of which frailty, 

And want of wisdom, you, &c. 

Various emendations have been suggested to correct 
this passage : that recommended by Mr. M. Mason is, 
unquestionably, the best. The word capable, has cer- 
tainly been either written or composed through mistake : 
for capable, read culpable: for of, read oft; and a pure 
sense is obtained: 

But we all are men, 



In our own natures frail ; and culpable 

Oft our flesh: — few are angels: out of which frailty, 

Man is frail in his nature, and often renders himself 
culpable by his sensuality. 



Scene III. — page 205. 

Man. When suddenly a file of boys behind them, loose shot, 

Mr. Malone refers his readers to Vol. IX. p. 139, n. 4, 
for a proof, to justify the present text; and which he 
explains to mean, — loose, or random shooters. But, in 
my opinion, the boys, when they delivered such a shower 
of pebbles, threw them not at random ; for, had they, the 
pebbles must have assailed those who came to the broom- 
staff with the Porter's man, as well as others of the mob 
who strove to get entrance. I am, therefore, convinced 
that the shower of pebbles were so well aimed, that the 
man was obliged to retreat: in his own words — "Was 
fain to draw his honour in." But loose shot is not the 
phrase: — I am certain we should read, loose shod: al- 
luding to the very low order of which the mob was com- 
posed. He knew they were loose-shod, by the noise of 
their wooden clogs. 



KING HENRY VIII. 257 

Scene III. — page 205. 

Porter. These are the youths that thunder at a play-house, 
and fight for bitter apples; that no audience, but 
the Tribulation of Tower-hill, or the limbs of 
Lime-house, their dear brothers, &c. 

That Dr. Johnson and Mr. Steevens are correct, in 
explaining- the Tribulation of Tower-hill to mean a pu- 
ritanical meeting-house, there is not a doubt on my 
mind ; but Mr. Steevens's idea, that Shakspeare wrote, 
the lambs of Lime-house, I must negative. 

Limbs mean, members — that is, members either of 
the body, of the community, or of the Christian church. 
Consequently, the limbs , (as the Porter facetiously calls 
them,) are the members of the Lime-house fraternity, 
and dear brothers of the Tribulation of Tower-hill. 

In a similar manner, the word limb is often familiarly 
used, in speaking of gentlemen of the Law : — He is a 
limb of the Law. 



WvoUu$ anli <£xt$&iba. 



ACT I. 

Scene I. — page 236. 

Troilus. Handiest in thy discourse, 0, that her hand, 

Of the phrase — Handiest in thy discourse, I can make 
no hand ; and my predecessors, (save Mr. Malone, who, 
by the bye, gives no illustration of it,) considered 
perfect nonsense ; or at least, as Mr. Steevens observes, 
it forms part of two lines, the worst to be found in a 
degraded play. I think the passage can be amended, and 
brought nearer our Author's hand, by reading: 



Thou answer' st she is fair 



Pour'st in the open ulcer of my heart 

Her eyes, her hair, her cheek, her gait, her voice ! — 

Hand less in thy discourse, — O, that hand, 

Thus, Troilus tells him to be less communicative of 
Cressida's perfections, and at the same moment, having 
used the word hand r it calls another beauty to his re- 
membrance, which makes him break out afresh in his 
raptures of comparison. 



Scene I. — page 237. 

Troilus. To whose soft seizure 

The cygnet's down is harsh, and spirit of sense 
Hard as the palm of ploughman ! 

I am not surprised that the spirit of this passage has 
not been understood; for, in my opinion, there is a 



TROILUS AND CRESSIDA. 259 

corrupt word in it, and the punctuation has materially 
injured the sense. I believe the Author wrote: 
To whose soft seizure, 



The cygnet's down is harsh in spirit of sense; 
Hard as the palm of ploughman ! 

Thus, the cygnet's down is harsh to his feelings, in 
comparison to the softness of Cressida's hand: Ay, 
harsh (says the speaker) as the palm of ploughman! 



Scene II . — page 24 1 . 

Alexander. — Hector, whose patience 

Is, as a virtue, fix'd, to-day was mov'd: 

Patience being- a virtue, the fix'd virtue has nothing 
to do with the passage : We should read, — 

— Hector, whose patience 

Is, as a vulture ', fix'd, to-day was mov'd: 

Thus, the patience of Hector is compared to the 
vulture, which never moves from the object of its insa- 
tiate gluttony, until it has entirely devoured it. Pro- 
metheus, according to Fabulous History, was chained to 
Mount Caucasus, with a vulture preying constantly on 
his liver. 



Scene III. — page 260. 

Nestor. With due observance of thy godlike seat, 
Great Agamemnon, Nestor shall apply 
Thy latest words. 

The words of Agamemnon, and to which Nestor 
alludes, are in Agamemnon's latest speech, and which 
are highly prized by Nestor, as they reveal the cause of 
the long-protracted war. The words are, — 



"Why then, you princes, 



Do you with cheeks abash'd behold our works; 

And think them shames, which are, indeed, nought else 

But the protractive trials of great Jove, 

To find persistive constancy in men ? 

The fineness of which metal is not found 

In fortune's love." &c. 

S 2 



260 TROILUS AND CRESSIDA. 

As Nestor considers these words to issue from the 
source of wisdom, he will treasure them in his mind, 
and apply the information which they convey towards 
the regulating- of his future actions. 



Scene III. — page 263. 

Ulysses. -■ And such again, 

As venerable Nestor hatch' d in silver, 

The compositor, from the word not being sufficiently 
distinct in the copy, hatch' 'd and brought forth an egre- 
gious blunder; and which blunder has brought forth 
three pages of learned notes. It is unnecessary to adduce 
argument to show the imbecility of the word hatched; the 
passage, when corrected, will prove Shakspeare's un- 
erring genius : 

And such again, 



As venerable Nestor harpd in silver, 
Should with a bond, &c. 

His eloquence, sweetly soft and harmoniously grand, 
operated on the sense of his auditors, as music produced 
by the fingers of experience from a harp strung with 
silver strings. 

In the subsequent speech, the musical voice of Nestor 
is again complimented : 

" We shall hear musick, wit, and oracle." 

In defence of Dr. Johnson's opinion of this passage, 
I reluctantly refer the Reader to Mr. Malone's note. 



Scene III. — page 263. 

Ulysses. Should with a bond of air (strong as the axletree 
On which heaven rides,) knit all the Greekish ears 
To his experiene'd tongue. 

A bond of air! This I profess beyond my comprehen- 
sion : and how air is to become a solid body, and form a 



TR01LUS AND CRESSIDA. 261 

bond, strong as the axletree on which heaven rides, is, I 
believe, beyond the powers of human wisdom. Our 
Author is styled, and justly too, the Poet of Nature; 
but, if this be natural, then has Nature, in this instance, 
exposed a figure to her favourite, as heterogeneous to 
physics as is the idea of — seeing* a sound! And yet, 
Mr. Malone, in his note on this passage, observes, 
"With respect to the breath, or speech of Nestor, here 
called a bond of air, it is so truly Shaksperian, that I have 
not the smallest doubt of the genuineness of the expres- 
sion." Well, let us see if it be so truly Shaksperian. 

All must admit that the axletree of a carriage is either 
of forged or east steel. The French word for steel is acier; 
in old French, acyre. Formely, the word air was spelt 
ayre. Nov,, look to the similarity of the letters which 
compose acyre and ayre : there is a c in one word which 
is not required in the other. Suppose, then, the word 
acyre to have been perfect in the manuscript, and with 
which word the person who read to the transcriber was 
unacquainted, — would he not, most probably, sound it 
asayre? Consequently, the transcriber, equally ignorant 
of the word which the passage required, wrote — a bond 
of as ayre: and thus, the proof-sheet came to the cor- 
rector, who expunged the superfluous as, and left the 
bond of air, or ayre, for critical animadversion. 

Now, let us read the passage corrected, and I am bold 
enough to say, according to the Author's original text : 

And thou most reverend for thy stretch'd-out life, — 
I give to both your speeches,— which, were such, 
As Agamemnon and the hand of Greece 
Should hold up high in brass; and such again, 
As venerable Nestor harp'd in silver, 
Should, with a bond of acier (strong as the axletree 
On which heaven rides,) knit all the Greekish ears 
To his experienc d tongue. 

If elucidation be necessary, it is merely to inform the 
Reader, that acier is the French word for steel; and, 
that the bond to knit all the Greekish ears should be as 
strong as the axletree on which heaven moves. 



262 TfcoiLUS AND CRESS1DA. 

Scene III.— page 277. 
Agamemnon. What trumpet? look Menelaus. 

Mr. Steevens is certainly right, that Menelaus should 
be omitted, as prejudicial to the metre. In my opinion, 
the transcriber wrote Menelaus in the wrong place ; and 
afterwards opposed it to the words which announce from 
whence the trumpet came. 

Agam. What trumpet ? look. 
Men. From Troy. 

Thus the measure is preserved. 



Scene III.— page 278. 

./Eneas. But when they would seem soldiers, they have galls, 

Good arms, strong joints, true swords; and, Jove's accord, 
Nothing so full of heart. 

The Commentators admit, that the phrase — and, Jove's 
accord, &c. is unintelligible. Mr. Steevens would read, 
Jove's a god: Mr. Malone, Love's a lord: and Mr. M. 
Mason, Jove's own bird. These seem all fancy figures, 
catching at sound, but in sense quite deficient. I believe 
our Author wrote : 

-they have galls, 



Good arms, strong joints, true swords; and Jove's a core. 
Nothing so full of heart. 

i. e. Jove has a core, but he is nothing so full of heart 
as they are : meaning, his heart is not so full of courage. 
However convinced I may be that this was the Author's 
text, perhaps, the minute investigator of Shakspeare's 
Works, will be more firmly of my opinion, from the 
following passage, in Act V. sc. i. of this play: 

Achieles. " How now, thou core of envy? 

Thou crusty hatch of nature, what news?" 



TROILUS AND CRESSIDA. §63 

ACT III. 

Scene II. — page 354. 

Pandarus. let all constant men be Troiluses, nil false 

women Cressids. 

If inconstancy be not as much intended for Troilus, 
as falsity for Cressida, why should Pandarus require 
Troilus to say, amen? The speaker has just said — If 
Peer you prove false one to another: — Surely, this implies 
the probability, that one may prove equally as inconstant 
as the other. I am persuaded, the error is not our 
Author's, and should, therefore, be corrected : 
— let all inconstant men be Troiluses. 



Scene III. — page 356. 

Calchas. Appear it to your mind, 

That, through the sight I bear in things, to Jove 
I have abandon'd Troy. 

Dr. Johnson observes, on this passage, that the word 
is so printed, (Jove,) that u nothing but the sense can 
determine, whether it be love or Jove." He thinks the 
Editor read it love ; and Mr. Steevens seems confident, 
that love is the true reading. In all the modern editions, 
the passage reads : 

That through the sight I bear in things to come, 

Calchas, while at prayer in the Oratory, received 
divine information, that Troy would be destroyed by the 
Greeks, and that it was the order of the gods that he 
should quit the Trojans, and become an ally to the 
Greeks. This he accordingly did ; and, being well assured 
of the fate that awaited Troy, he had no merit in 
quitting his country, notwithstanding he left children, 
friends, and fortune; for personal safety, though a 
primary consideration with most men, was but secondary 



264 TROILUS AND CRESSIDA. 

witli him, as the order he had received from Jove must 
he obeyed. 

The divine information, then, that he received, having 
come from Jove, it is to Jove he alludes; but false 
punctuation shows the passage in a false light. The 
text says, — "to Jove I have abandoned Troy:" as 
though he said — / have left the fate of Troy to Jove. 
Any common soldier, who deserted and joined the 
Greeks, could have made the same observation. We 
frequently say — I leave you to your fate; but what that 
fate may be, is unknown to the person who thus deserts, 
perhaps, a friend. It will also be found, that Calchas 
boasts no prescience: he received verbal orders from 
the gods ; those orders he has obeyed ; and, though he 
has but merely done his duty, yet, the sacrifices that he 
made renders him an object of high consideration, and 
duly entitled to a liberal compensation. We should read : 

Appear it to your mind, 



That, to the sight I bear in things through Jore, 
I have abandon'd Troy. 

Thus, by this transposition, his meaning is as clear as 
words can convey them; and the passage qualified to 
correspond with the quotation from Lydgate, as given 
by Mr. Malone. 

" He entred into the oratorye, — 
And hesily gan to knele and praye, 
And his things devoutly for to saye, 
And to the god crye and call full stronge j 
And for Apollo would not tho prolonge, 
Sodaynly his answere gan attame, 
And sayd Calchas twies by his name ; 
Be right well 'ware thou ne tourne agayne 
To Troy towne, for that were but in vayne, 
For finally lerne this thynge of me, 
In shorte tyme it shall destroyed be: 
This is in sooth, whych may not be denied, 
Wherefore I will that thou be alyed 
With the Greekes, and with Achilles go 
To them anone; my will is, it be so : — 
For thou to them shall be necessary, 
In counseling and in giving rede., 
And be right helping to their good spedc,'' . 



TROILUS AXD CRESSIDA. 265 



ACT IV. 

Scene I. — page 382. 

Paris. But we in silence hold this virtue well, — 
We'll not commend what we intend to sell. 

The present state of this passage admits of no defence : 
in fact, explication is impossible. I believe our Author 
wrote : 

We'll but commend what we intend to sell. 

As Paris does not intend to sell Helen, he will be 
silent on her perfections. 

The word not has been frequently intruded for bid 
in these plays. 



Scene II. — page 

Troilus. — Sleep, kill those pretty eyes. 

There is no great difficulty in accounting for the 
present error. The letter-case, (called the upper case,) 
in which the k has its compartment, is next to that of 
theji: these sorts frequently visit each other. We 
should read : 

To bed, to bed: Sleep, still those pretty eyes, 
The invocation is addressed to sleep, that sleep may 
still 9 i. e. may compose her eyes, and thereby free them 
from that glowing animation with which passion disturbs 
them ; that every sense may be tranquillized, and that 
she may be lulled to that soft repose which infants, 
empty of all thoughts, enjoy. 



Scene II. — page 388. 

JSneas. Good, good, my lord; the secrets of nature 
Have not more gifts in taciturnity. 

This verse, through the carelessness of the com- 
positor, has lost a word, which strips it of its greatest 
beauty. Mr. Pope reads, — 

the secrets of neighbour Pander. 



266 TR01LUS AND CRESSIDA. 



And Mr. Malone would read, — 



the secrelest of nature. 



But, a most familiar phrase displays at once the 
original reading. I read: 

Good, good, ray lord ; the secret springs of nature 
Have not more gifts in taciturnity. 

The secret springs of nature, which sets her wonder- 
working machine in motion, are not more gifted with 
taciturnity ; for, they are so silent, that since the creation, 
their secrets have never been revealed to man. 

The word secret being composed, the compositor added 
the s, thinking he had got spring, and thus made secrets 
and omitted springs. 



ACT V. 

Scene IV. — page 458. 



Thersites. The policy of those crafty swearing rascals, — 

Mr. Theobald's observations to prove the word swear- 
ing not authentic, in its present situation, are, in my 
opinion, perfectly just; but I do not think sneering the 
Author's word. I read: 

The policy of those crafty swerving rascals, — 

Nestor and Ulysses used to stir up the emulation Sr 
Achilles, and consequently swerved from the principles 
of honour. 

Swerving and swearing are so alike in writing, that 
a compositor, taking but a cursory view of his copy, might 
easily mistake one word for the other. 



ffortolatm?* 



ACT I. 

Scene I. — page 12. 

Memnius. 1 will tell you; 

If you'll bestow a small (of what you have little,) 
Patience, a while, you'll hear the belly's answer. 

A small portion of a little, is well understood; but 

to bestow a small of a little patience ', is rank nonsense. 

Had it read — a small portion , we might think the passage 

correct. I am certain the transcriber mistook the sound 

of the words ; and that our Author wrote : 

I will tell you 



If you'll bestow us all (of what you have little,) 
Patience; — a while you'll hear the belly's answer. 

The citizens were possessed of so little patience, that 
Meninius required it all. 



Scene I. — page 23. 

Brutus. The present wars devour him : he is grown 
Too proud to be so valiant. 

The idea which Dr. Warburton entertains of this 
passage seems very erroneous : the punctuation, I 
think, perfectly correct. The passage means:— His 
pride has grown in proportion much greater than his 
valour ; and, in the present wars, he figures to himself 
such ideal greatness in his military capacity, that the 
very source (war) from which he derives his present 
greatness now devours him. 



268 C0R10LANUS. 

Scene II. — page 27. 

Second Senator. If they set down before us, for the remove 
Bring up your army ; 

We have got here the phrase of a cook, for that of a 
Senator, giving instructions to the general of an army. 
Dr. Johnson and Mr. M. Mason perceived an error in 
the passage, but neither, according to my apprehension, 
seem to have understood the Senator's meaning. 

The object of Aufidius was, to have taken in many 
towns, so as to have secured necessary supplies of pro- 
vision for his troops, and to have impeded the marches 
of the enemy towards Corioli; but in this he was 
defeated by the unexpected promptitude of the Romans. 
The orders, then, which he receives, is to leave Corioli 
to the defence of its garrison; and, should the enemy 
set down before Corioli, he is to concentrate all his forces, 
and to remove to a greater distance, where the enemy 
not seeing them, he shall be able to concert such mea- 
sures as would effect their defeat. The text is evidently 
corrupt : we should read : 

Let us alone to guard Corioli : 

If they set down before us, further remove; 

Bring up your army: 

The transcriber's ear deceived him: further remove 
and for the remove, are nearly alike. 



Scene III. — page 31. 

What, are you sewing here ? a fine spot, in 



good faith. 

Valeria means amusement : We certainly should read: 

a fine sport, in good faith. 

The r dropped out in placing the pages for imposi- 
tion, and, as the letters formed a perfect word, the cor- 
rector overlooked the error. 



CORIOLANUS. 269 



Scene VI. — page 47. 

Marc i us. if any fear 

Lesser his person than an ill report; 

The old copy has — Lessen. Mr. Steevens's idea of 
this passage is correctly just; but he should have cor- 
rected thus : 

if any fear 



Less in his person than an ill report; 

The manner in which the error originated is obvious : 
the transcriber, from similarity of sound, made one 
word, instead of two ; in which he changed the i into 
an e. We have repeated instances of such blunders. 



Scene VII. — page 48. 

Marcius. - — ——Please you to march; 

And four shall quickly draw out my command, 
Which men are best inclin'd. 

I refer my Readers to the Commentators' elucidations 
of this passage, wherein they will find their defence of 
the four who were to make choice of soldiers for the 
enterprize : without farther preamble, I shall give the 
Author's reading : 

—Please you to march; 

And foes shall quickly draw out my command, 
Which men are best inclin'd, 

Here we have a phrase worthy of this truly great 
soldier, and so well understood by his men, that every 
one who wished to face the foe would step forward : 
Thus, the foes drew out the men who were best inclined to 
oppose them, and the cowards, if any, remained. 

The passage not being understood by the compositor, 
his sagacity made otit the word four ; which the corrector 
(it being a word) admitted. 



270 CORIOLANUS. 

Scene VIII. — page 51. 

Aufidius. Wert thou the Hector, 

That was the whip of your bragg'd proginy, 

Hector being a Trojan, was unconnected in any line 
of consanguinity with Coriolanu.s. But the text is cor- 
rupt. We should read : 

Wilt thou hector? 

That was the whip of your braggVd proginy, 

Meaning: Wilt thou rant or domineer over us with 
thy tongue ? That was the whip ofyovr bragged proginy : 
they could scold and bully with it muc tt better than fight 
with their swords. 

The transcriber seems to have written hector as a 
proper name; and the compositor thought it meant 
Hector, the famous Trojan. 



ACT II. 

Scene I. — page 82. 

Brutus. holding them, 

In human action and capa< uty, 

Of no more soul, nor fitness for the world, 

Than camels in their war. 

Camels, at all times, are merely b easts of burthen : In 
their prime they are safe for riding, , but in their decline 
not to be depended on. War, in its present state, is in- 
defensible, nor can any sense be extracted out of it. 
We should read, as our Author, I a tm convinced, wrote : 

holding them, 

In human action and capacity, 

Of no more soul, nor fitness for th e world, 

Than camels in their wane; 

i.e. When they are old, and c» snsequently useless. 
War was formerly spelt warre: the n was taken for rr, 
by the compositor. 



CORIOLAN'US. 271 



Scene I. — page 83. 

■This, as you say, suggested 



At some time when his soaring insolence 
Shall teach the people. 

This is a strange error, and must be attributed to the 
compositor. The original certainly read : 

This, as you say, suggested 



At some time when his soaring insolence 
Shall stench the people. 

Alluding to his pride : and, according to the old saying, 
He stinks with pride. The s in the word ste?ich not being 
sufficiently clear in the MS. the residue must have been 
mistaken for teach: the n, if carelessly formed, is not 
unlike an a : hence the error. Thus corrected, the text 
is familiar : The people will turn up their noses at him. 



Scene HI. — page 105. 

Coriol-vxus. Why in this woolvish gown should I stand here, 
To heg of Hob and Dick, that do appear, 

I have not been able to learn whether the Romans 
made gowns of wolf-skin. I believe, and think many 
will coincide with me, that our Author wrote : 

Why in this whorish gown should I stand here, 
To beg of Hob and Dick, that do appear, 

Alluding to the corrupt principles of many who had 
worn the gown on similar occasions. The gown was as 
well known to the rabble of Rome, as one worn by a 
harlot who had not a second. In Act III. sc. i. Corio- 
lanus says : 

"- Well, I must do't : 



Away my disposition, and possess me 
Some harFofs spirit;" 



2^2 C0R10.LAXC5. 

ACT III.. 
Scene I. — page 134. 
Meninius. One time will owe another. 

By owe, I believe he means own. The allusion is, 
that a time for retribution will arrive, when the people 
must own their illiberal conduct. 

In sc. ii. of this Act, owe is used for own in a similar 
manner ; Volumnia says : 

" Thy valiantness was mine; thou suck'st it from me; 
But owe thy pride thyself." 



Scene II. — page 148. 

Volumnia. waving thy head, 

Which often, thus, correcting thy stout heart, 

This passage is very corrupt, and for which, I believe, 
both the transcriber and compositor are to blame. I 
read : 



baring thy head. 



Which softens : thus, correcting thy stout heart, 

Volumnia has just told Coriolanus, that he must hold 
his bonnet in his hand, and bend his knee to the people, 
in order to disarm their prejudice and resentment: and, 
as actions of humility often prove more efficacious than 
oratory, he must bare his head, which, says Volumnia, 
will soften them to mildness and moderation. Thus, his 
bare head corrects his stout heart. 

That baring his head is the true reading-, we have the 
authority of Coriolahus's words, in a subsequent part of 
this scene : 

" Must I go show them my unbarVd sconce V 

The turn of a b in writing, if brought too low, has 
much the appearance of a w; and the r, in the middle 
of a word, if not carefully formed, is not unlike a v : 



CORIOLANUS. 273 

thus originated tlie word waving for baring. In the 
word softens, the person who recited as the transcriber 
wrote, did not lay sufficient emphasis on the s, either at 
the beginning or termination of the word; and thus, often 
for softens. 



Scene III. — page 165, 

Coriolanus. Despising, 

For you, the city, thus I turn my hack; 

A word is wanting, after Despising, to perfect the 
measure : I think critical judgment will admit the pro- 
bability, that the pronoun you was omitted by some 
early Editor; and, most likely, in order to overcome 
what he deemed tautology, he disregarded the sense. 
I read: 

Despising #< 



For you, the city, thus I turn my back; 

Thus Coriolanus despises the citizens, and, on their 
account, despises the city. Mr. Steevens proposes to 
read — Despising therefore. 



ACT IV. 

Scene I. — page 167. 

Coriolanus. the beast 

With many heads butts me away.— 

Rome, on account of its seven hills, is supposed to be 
the beast alluded to in the Apocalypse. This shows, 
that, in Shakspeare's time, the same sense was entertained 
of that part of the Revelations, which the enlightened 
have at present. 



274 CORIOLANUS. 

Scene I. — page 169. 

Volumnia. — My/rsfson, 

Mr. Heath proposes to read — My fierce son : — I cer- 
tainly think his correction just. We know not that 
Volumnia ever had a second son : besides, fierce corre- 
sponds with wild, as in a subsequent part of the speech. 



Scene I.— page 169. 

Volumnia. More than a wild exposture to each chance, 

As the word exposture has no meaning, why not read 

exposure ? The compositor, most probably, took up the Ji 

type, (the f and t formed one type,) thus arose the error. 



Scene I. — page 175. 

Volsce. You had more heard when I last saw you; but your 
favour is well appeared by your tongue. 

This is nonsense: we should read — appareVd. 

The Roman, being a traitor to his country, and a spy 
in the pay of the Volscians, was obliged, at times, to 
assume different disguises. Now, when the Volscian last 
saw the Roman, he wore a false beard, but, at present, 
that disguise has been laid aside : the Volscian, there- 
fore, on recognizing him, says, — 

You had more beard when I last saw you j but your favour is 
well appareVd by your tongue. 

Meaning : If your chin be not well furnished, your 
tongue is ; or, I know you by your voice. 



Scene V. — page 188. 

Aufidius. — Worthy Marcius, 

Had we no quarrel else to Rome, but that 
Thou art thence banish'd, we would muster all 
From twelve to seventy; and, pouring war 
Into the bowels of ungrateful Rome, 
Like a bold flood o'er-beat, 



CORIOLANUS. 275 

I should think it requires very little argument to con- 
vince, that the Author wrote : 

and pouring, war 

Into the bowels of ungrateful Rome, 
Like a bold flood o'er-bear't, 

Like the impetuous force of a flood that overpowers 
every thing that would obstruct it. 

In the next scene of this Act, we have this figure 
strengthened by the messenger, who says, — 



Caius Marcius, 



Associated with Aufidius, rages 
Upon our territories ; and have already 
O'er-borne their way, consum'd with fire, and took 
What lay before thera." 



Scene V. — page 208. 

Aufidius. So our virtues 

Lie in the interpretation of the time : 
And power, unto itself most commendable, 
Hath not a tomb so evident as a chair 
To extol what it hath done. 

I certainly think we should read : 

And power, unto itself most condemnable, 
Hath not a tomb so evident as a chair 
To extol what it hath done. 

That power which condemns itself more than it is 
condemned by others, proves its modest worth ; nor can 
any monument blazon its virtues equal to the seat 
wherein it formerly administered justice. 



Scene V. — page 209. 

Aufidius. One fire drives out one fire; one nail, one nail; 

Rights by rights fouler, strengths by strengths do fail. 

The transcriber seems to have made a foul error here : 
We should read : 

Rights by rights founder, strengths by strengths do fail. 

One right is good until a better is established, and 
then, that which is feeble, founders : — i. e. sinks to the 
bottom. 

T2 



276 CORIOLANUS. 

Scene V. — page 215. 

Cominius. — What he would do, 

He sent in writing after me ; what he would not, 
Bound with an oath, to yield to his conditions: 

Some of my predecessors would entirely change the 
sense of this passage by their proposed emendations; 
and Mr. Malone is of opinion, that two half lines 
have been lost: however, with due deference to these 
opinions, the changing of one letter removes all ob- 
scurity, and restores the original reading : 
What he would do, 



He sent in writing after me ; what he would not, 
Bound with an oath: so yield to his conditions: — 

Cominius, being dismissed by Coriolanus, receives, 
immediately after, written conditions, stating what he 
(Coriolanus) would do; but, what he would not do, — that 
is, what Rome solicited — he confirmed with an oath, not 
to do. Convinced, then, that the inflexibility of Corio- 
lanus cannot be overcome by any terms proposed by 
the Romans, Cominius positively asserts, that farther 
application is unnecessary, and therefore recommends 
Rome to submit to the written conditions. 

The same conditions, Coriolanus, for the love be 
bears Meninius, offers again. See sc. iii. of this Act : 

— " Their latest refuge 



Was to send him : for whose old love, I have 
(Though I show'd sourly to him,) once more ofFer'd 
The first conditions," &c. 

It appears to me that some early Editor, to avoid 
tautology, changed the word ; for the repetition is found 
at the commencement of the sequent verse : but this is 
easily overcome, by the pause required after the colon ; 
and it were better to have tautology than nonsense. 



^ttJtttg ©&sar* 



ACT I. 

- Scene II. — page 265. 

Brutus. Set honour in one eye, and death i'the other, 
And I will look on both indifferently : 
For, let the gods so speed me, as I love 
The name of honour more than I fear death. 

However familiar Dr. Johnson has thought this pas- 
sage, yet, in my opinion, the meaning of Brutus did not 
meet his usual penetration. 

In saying, — Set honour in one eye, and death Vthe 
other, Brutus means, that honour (dignity) and death 
are equally indifferent to him ; but when he says, — 

For, let the gods so speed me, as I love 

The name of honour more than I fear death — 

he means honour, (virtue,) and that he prefers a vir- 
tuous name more than he fears death. In other words, 
that, to gain a virtuous and honourable name, he would 
not think the purchase dear though it should cost him 
his life. 



Scene II.— page 267. 

Cassius. — Ye gods, it doth amaze me, 

A man of such a feeble temper should 
So get the start of the majestic world, ' 
And bear the palm alone. 

I do not think this passage has any allusion to the 
Olympic games, as so warmly supported by Dr. War- 
burton, but simply to the conquests of Caesar. Cassius 



278 Julius c^sar. 

is surprised that a man of Caesar's weak temperament, 
(for he considers him weak both in mind and body,) 
should have all the honours of victory, when other 
Roman warriors were equally, if not more entitled to 
them, for their military achievements. See the words 
of Ventidius, in Antony and Cleopatra, Act III. sc. i. 

" Cassar, and Antony, have ever won 
More in their officer, than person." 

Though he means Augustus Caesar, yet the allusion 
holds good. 

The epithet — majestic world, seems to mean, the dif- 
ferent powers to whom Caesar dictates laws. 



Scene III.— page 284. 

Casca. Be factious for redress of all these griefs ^ 
And I will set this foot of mine as far, 
As who goes farthest. 

The explanations given by Dr. Johnson and Mr, 
Malone to this passage have equally a share in its true 
meaning: activity is required, and so is a faction; but 
to embody a party would, I imagine, be attended with 
dangerous consequences. The meaning I extract from 
the text is, — Be vigilant ; sound the minds of the people ; 
speak our common griefs ; and, if you find partizans 
equally anxious as we are to seek redress, I will be 
as forward in the cause as the most violent. 



ACT II. 

Scene I. — page 310. 

Portia. Dwell I but in the suburbs 

Of your good pleasure ? if it be no more, 
Portia is Brutus' harlot, not his wife. 

Portia compares the heart of Brutus to an enclosed 
city, wherein, if she dwells not, she considers herself 



JULIUS (LESAR. 279 

ns merelj an object of dalliance for his amorous moments ; 
and that, without his confidence, she is as far removed 
from his heart as is the house of a courtezan from the 
city. It would seem that, in some states, the courte- 
zans' houses were only permitted in the suburbs. See 
Measure for Measure, Act I. sc. iii. where the Bawd 
speaks of the proclamation issued by Angelo : 

Bawd. " But shall all our houses of resort in the subnrbs be pull'd 

down? 
Clown. To the ground, mistress." 



Scene 11.— page 320. 

Decius. This dream is all amiss interpreted; 
It was a vision, fair and fortunate : 
Your statue spouting blood in many pipes, 
In which so many smiling Romans bath'd, 
Signifies that from you great Rome shall suck 
Reviving blood ; and that great men shall press 
For tinctures, stains, relicks, and recognizance. 

Decius, in his interpretation of this dream, makes it 
bear a two-fold signification: that which he gives to 
Caesar and Calphurnia, he dresses in Avords to work on 
their credulity, though he knows the same words will 
prove its verification. The first interpretation, as sup- 
posed to be understood by Caesar, is this, — Your statue 
spouting blood in many pipes, &c. denotes, that great 
Rome shall flourish under your government : so renowned 
will be your name, the greatest potentates shall press 
for, or endeavour to possess, your writings, (tinctures and 
stains of various colours were used in the ancient manu- 
scripts,) and every article that can be preserved, as 
having belonged to you, shall be considered as sainted 
relics, and retained as monuments of your superior 
knowledge and glory. Had Decius insinuated — tinctures 



280 JULIUS (LESAR. 

and stains, (as observed by Mr. Malone,) to mean hand" 
kerchiefs dipped in blood, as in the case of martyrs, it must 
have awakened fears in the breast of Caesar, and induced 
him to credit the explanation given by Calphurnia. 

The true interpretation, according to the words of 
Decius, means : That the statue of Ccesar spouting blood in 
many pipes, are the wounds which Caesar's body shall re- 
ceive: In which so many smiling Romans bath'd: the 
exulting conspirators who intend to assassinate him. 
See the words of Brutus when the murder is perpetrated i 



" Stoop, Romans, stoop, 



And let us bathe our hands in Caesar's blood 
Up to the elbows." 

From you Great Rome shall suck reviving blood: i. e» 
By his fall, Rome shall revive and flourish : Great men 
shall press for tinctures, &c. The conspirators who shall 
press around him, and tinct their swords by plunging 
them into his body : The stains^ — his blood with which 
they will stain their hands: The r clicks, — his remains, 
which shall be exposed in Rome as the triumph of the 
conspirators : And cognizance, — the knowledge of the 
fatal deed which future ages shall record to all the 
world. 



ACT III. 



Scene I- — page 345. 

Aktony. pardon me, thou piece of bleeding earth, 

That I am meek and gentle with these butchers I 

Thou art the ruins of the noblest man 

That ever lived in the tide of times, 

Woe to the hand that shed this costly blood ! 

Over thy wounds now do I prophecy, — 

Which, like dumb mouths, do ope their ruby lips, 

To beg the voice and utterance of my tongue ;— 

A curse shall light upon the limbs of men ! 



JULIUS CESAR, 281 

On comparing the different opinions to which this 
extraordinary malediction has given rise, I find such a 
degree of uniformity in making it a general, nay, a per- 
petual calamity, that, in a moral light, its presumption 
renders the passage, either in the present state, or even 
according to any proposed amendment, totally unfit in 
representation. Bishop Warburton says, we should read, 
the line of men: — surely, the line of men, means, succes- 
sion of the human race; and would be too daring to come 
from Antony ! By the fall of our first parents, the race 
of man received an awful and irrevocable curse ; and for 
man to prophesy an additional malediction for the assas- 
sination of an individual, carries imagination beyond 
every limit of poetical licence and stage propriety. Sir 
Thomas Hanmer reads — hind of men. The complexions 
and principles of men differ widely; but, as the Com- 
mentator particularizes no class, the curse becomes 
almost general. Dr. Johnson reads — the lives of men! 
Here, again, all mankind are comprised in the curse : 
but the Doctor makes a second attempt on this passage, 
and not so unsuccessfully ; he proposes to read — lymms 9 
(a word which he has not introduced into his Dictionary) 
and, by lymms of men, he means — blood-hounds! Now, 
though it is not Shakspeare's phraseology, yet, had he 
pointed out the blood-hounds, the malediction had its 
bounds; for, I am certain, the curse had very confined 
limits, and that the passage originally read : 

A curse shall light upon these imps of men ! 

Thus, the curse is confined to the conspirators for 
whom it was designed, and which, by a strange fatality, 
was verified in the judgment which did light upon them 
at Philippi, where Augustus Caesar and Antony defeated 
the army of Brutus. But we have a convincing proof^ 
in the two first lines of this speech, that Antony limited 
the curse to the conspirators : he says, — 



282 JULIUS (LESAR. 

Oh pardon me, thou piece of bleeding earth, 
That I am meek and gentle with these butchers ! 

And again : 

Woe to the hand that shed tMs costly Mood! 

Here the words — these butchers, perfectly correspond 
with these imps ; and clearly demonstrate that the pro- 
noun these should be used to limit the objects of Antony's 
malediction. 

The epithet imps, is frequently used by Shakspeare, 
and the manner in which the error took place is obvious : 
the transcriber omitted an e in the word these; the s 
was mistaken for an / by the compositor, and which he 
joined to the word imps, thereby making it limps ; the 
wise corrector changed the p for a b, and thus, the Ii?nbs 
of men were included in the curse. 



Scene II.— page 360, 

Antony. I am no orator, as Brutus is ; 

But, as you know me all, a plain blunt man, 
That love my friend ; and that they know full well 
That gave me publick leave to speak of him. 
For I have neither wit, nor words, nor worth, &c. 

The questionable word in this speech is wit, (old copy 
ZLiit.) Mr. Malone's arguments in favour of the word 
writ, is, in my opinion, perfectly just, and to which I beg 
leave to add the following remarks. 

In this part of Antony's speech, he artfully intends to 
contrast his own inferiority with the brilliant abilities of 
Brutus; for, having seen how far artful eloquence had 
operated on the minds of the populace, he considers that 
a seeming depreciation of his own talents, and an acknow- 
ledgment of the superior literary abilities of Brutus, will 
operate best on the hearts of his auditors, and influence 
them to believe that it is not oratory that has roused 
their sensibility, but the wrongs they feel in the murder 



JULIUS CESAR. 283 

of Caesar, and which calls forth their revenge. For this 
object, he appears the plain unlettered man, and says, — 

I am no orator, as Brutus is ; 

But, as you know me all, a plain blunt man, &c. 

After this mock modesty, and which he knows will 
prove his best panegyric, he continues, — 

For I have neither writ, nor words, nor worth, &c. 

i. e. I have neither writ, to stir men's blood, nor have I 
words, nor worth, <§pc. Now, by the word writ, Antony 
means, not a written speech, as Mr. Steevens interprets 
it, but that, as an unlettered man, he cannot boast those 
mental endowments so conspicuous in Brutus, who was 
celebrated both as an orator and a writer; as though 
he said — / am no author, as Brutus is. 

The word wit, as in the text, define it as you will, 
cannot produce a reasonable effect : if considered accord- 
ing to its old signification, it takes from Antony all com- 
mon understanding; and I am certain its modern ac- 
ceptation speaks not propriety on so solemn an occasion. 
These considerations induce me to think the word writ 
should be restored. 



ACT V. 

Scene I. — page 397. 
Cassius. The posture of your blows are yet unknown ; 
Mr. Steevens is perfectly correct in his observation.— 
Such an error as the present may, with propriety, be 
attributed to the compositor. We certainly should read : 

The posture of your blows is yet unknown ! 



^tttons atifc (Kltop&tva. 



ACT I. 

Scene I. — page 9. 

Antony. Let Rome in Tiber melt ! and the wide arch 
Of the rang'd empire fall! 

The wide arch, the triumvirate government, which 
connects or unites the many states subject to Rome, 
At this period, Caesar held Sicily and Africa; Mark 
Antony, Gaul, and some of the eastern provinces ; and 
Lepides, Spain; — all ranged under one form of govern- 
ment. An arch is composed of three constituent parts ; 
so was the triumvirate government; and which, for 
aught that Antony cares, may disunite and fall, so that 
he enjoys the love of Cleopatra. 



Scene I. — page 10. 

Antony. There's not a minute of our lives should stretch 

Without some pleasure now ; What sport to-night? 

We should certainly read : 

There's not a minute of our lives should stretch 
Without some pleasure new : 

Or, by changing the punctuation, thus : 

Without some pleasure : Now, what sport to-night? 

Shakspeare, I am convinced, never gave the text as 
at present exhibited. 



ANTONY AND CLEOPATRA. 285 

Scene II.— page 13. 

Charmian. O, that I knew this hushand, which, as you 

say, must change his horns with garlands ! 

Few passages in these plays have occasioned more 
labour to correct and illustrate than this. I refer my 
readers to the notes in Johnson and Steevens' edition, 
and merely give my opinion, that our Author wrote : 

O, that I knew this hushand, which, as you say, must 

chain his horns with garlands ! 

To form a wreath, the flowers must be interwove; 
and, when the wreath is attached to each horn, being 
then suspended by the two extremes, it droops in the 
centre, and forms a festoon, like a chain suspended from 
the neck. I have seen a print or painting of a bull 
thus decorated with a wreath, or chain of flowers, 
suspended from horn to horn ; and which, if I mistake 
not, was a conspicuous object in some grand pageant. 
Thus, then, the flowers form a chain, and with which 
Charmian expects to see her husband's brows adorned: 
meaning thereby, that though her own conduct might 
not be the purest, yet, that her husband's brows would be 
decorated with the wreath of a victorious warrior. 

The word chain was formerly spelt chaine, an i for a g 
corrects the error. 

The Critic, who thinks that a wreath cannot be termed 
a chain, will find his doubts removed, by referring to the 
book of Exodus, ch. xxviii. 



Scene II.— page 31. 
Antony. And get her love to part. 

His arguments shall reconcile her love to the necessity 
of his departure. The text is certainly correct : — the 
word leave, as recommended by Mr. Malone, would dis- 
play too much pusillanimity for the hero. 



28f) ANTONY AND CLEOPATRA. 

Scene III. — page 37. 

Cleopatra. Can Fulvia die? 

This is, in my opinion, a high compliment paid to 
Antony. The artful Queen would impress on his mind, 
that one who had a legal claim to his love should have 
been more than mortal. 



Scene III. — page 40. 

Cleopatra. 0, my oblivion is a very Antony, &c. 

What Cleopatra's anxiety would express, agitation 
obliterates. Thus distracted, she compares her memory 
to the unfaithfulness of Antony, who, when absent, 
will, as she imagines, forget her, as he seems to have for- 
gotten Fulvia : under this conviction, she considers her- 
self as totally deserted by him. 



Scene Y.—page 55. 

Alexis. So he nodded, 

And soberly did mount a termagant steed, 

Old copy — arm-gaunt. However judicious the present 
reading may have appeared to Mr. Steevens, there are 
three reasons which induce me to think termagant not 
the Author's word. First, it confounds the harmony 
of the verse, and makes it exceed due measure : secondly, 
termagant is only applied to a female; and though a 
violent or fiery mare might be called a termagant, yet 
the epithet would scarcely be used in speaking of the 
charger, or war-horse of Antony, who, in Julius Caesar, 
Act. V. sc. i. thus describes his steed : 

" It is a creature that I teach to fight, 
To wind, to stoop, to run directly on; 
His corporal motion govcrn'd by my spirit." 



ANTONY AND CLEOPATRA, 287 

And, thirdly, no transcriber could be so mistaken in 
the familiar termination of gant, or words ending in ant, 
as to insert a u to make it gaunt, unless the word had 
absolutely that sound; for there is not only the u to 
be inserted, but the a must also be transposed : we might 
as well expect to meet elegaunt for elegant. Now, to 
form the word termagant out of arm-gaunt is impossible : 
it requires te at the commencement of the word : the a 
must then be transposed, and the hyphen (which denotes 
that the original was a compound word) must be ex- 
punged, as also the u in gaunt. 

With these considerations for my defence, I shall pro- 
pose a word, which I believe to have been the original, 
and which only requires a w for an m to make it perfect. 
I read ; as I believe our Author wrote : 

— — So he nodded, 

And soberly did mount a war-gaunt steed, 

A war-gaunt steed speaks, in every respect, a highly- 
spirited steed ; one that had been hard fed (as sportsmen 
call it) with well-dried oats ; free from that full barrel 
peculiar to draft-horses, and such as are fed on grass, or 
soft food : but Antony's steed was, as a thorough-bred 
stallion, deep before, and gaunt, or drawn up in the 
flank, which is considered not only a beauty, but denotes 
action. A hunter or racer would look very curious, if 
introduced upon the turf with a drooping belly, like 
a brood-mare ; and, surely, a charger can neither lose its 
vigour nor spirits, when hard feeding and good exercise 
cause the desired effect — a handsome shape, good wind, 
and activity. Besides, look to the word war-gaunt, how 
corresponding it is to the warrior and his steed. 

We have a number of compound words in these plays 
commencing with war, such as war-proof, war-worn, 
&c. See Henry V. p. 369, 420, also Act IV. Chorus. 

The w is frequently a scarce sort with printers ; and 
when the compositor has not any of them in his case, 
he puts an m in place of it, the m being of the same body, 



288 ANTONY AND CLEOPATRA. 

Now, not recollecting that he had done this, the proof 
read — mar-gaunt, and the reader, judging that the m 
was transposed, marked it to read arm-gaunt: — thus the 
error seems to have originated. 



ACT II. 

Scexe I. — page 59. 

Pompey. But all the charms of love, 

Salt Cleopatra, soften thy wand lip ! 

In the old edition — ci Soften thy wand lip." This, 
undoubtedly, is the true reading : the substantive wand 
is used as an adjective, and alludes to magic; the meaning 
whereof requires no difficulty to solve. 

Pompey, dreading the experience and powers of An- 
tony, ardently wishes that he may remain at the court 
of Cleopatra: To influence this, that Antony's reason 
may be overcome by beauty, he invokes that the charms 
of love may never decay in Cleopatra, but continue to 
hold sway over Antony's heart : that her wand lip, i. e. 
her magic lip, may, like the influence of a wand, subdue 
his better reason ; and that, to her seductive words and 
amorous kisses, witchcraft may join with beauty, and lust 
with both to detain him. The word seems particularly 
well applied; therefore, according to the old edition, 
we should read: 

Bat all the charms of love, 

Salt Cleopatra, soften thy wand lip. 

The passage being wholly misunderstood by my pre- 
decessors, Dr. Johnson would read— -fond, or warm; ob- 
serving, that if wand, be let to remain in the text, it is 
either a corruption of wan, the adjective, or a contraction 
of wanned: so that, according to this idea, the beautiful 
Cleopatra is made to have a pale lip! Mr. Steevens 



ANTONY AND CLEOPATRA. 289 

would road — waned lip: i.e. decreased like the moon! 
and Dr. Percy is also for the wan lip. It remains for 
the Critic to decide. 



Scene II. — page 64. 

Enobarbus. By Jupiter, 

Were I the wearer of Antonius' beard, 
I would not shave to-day. 

The witty Enobarbus knows his own meaning, whether 
Lepides understands him or not. His allusion, however, 
seems to have been veiled from my predecessors. 

Lepides knows very well the violence of Antony's 
temper, and dreading that the hauteur of Caesar will 
inflame it, wishes Enobarbus to advise him to soft and 
gentle speech; but Enobarbus, knowing that Antony's 
political conduct is free from reproach, wishes him to 
act with becoming dignity, and support his cause : for 
which purpose, he would not have Antony curb the 
passion he knows him to be in, but resist with boldness 
the authoritative dictates of Caesar : and, therefore, 
were he the barber who is accustomed, to shave Antony^ 
he. would not venture to shave him that day; for An- 
tony's looks and passion must so alarm him, that, trem- 
bling with fear, he might give him a serious cut, which, 
in Antony's present temper, would draw on him severe 
chastisement. 

Enobarbus plays on the word wearer: The barber 
wears down the beard with his razor. 



Scene II. — page 67. 

Caesar. Your wife, and brother, 

Made wars upon me; and their contestation 
Was theme for you, you were the word of war. 

The war made against Caesar, by Fulvia and Antony's 
brother, could be no agreeable theme for him ; but 

u 



290 ANTONY AND CLEOPATRA. 

rather the contrary, for Antony, in the subsequent 
speech, says, that wars made against Caesar, he consi- 
ders as wars made against himself. Therefore, it is im- 
possible to obtain the desired sense out of the passage 
in its present state. I am certain the word theme has 
been introduced by mistake of sound, and that our 
Author wrote : 



and their contestation 



Was to? en for gour's, — you were the word of war. 
Thus, the sense is most familiar. The public very 
naturally imagined, that the wife and brother of Antony 
would never have dared to wage war against Caesar, 
unless they were stimulated to it by Antony ; therefore, 
he was the word of war : i. e. it went more in his name : 
it was considered as Antony's war against Caesar, more 
than the war of those who brought their powers against 
him. 



Scene III. — page 70. 

Antony. If you'll patch a quarrel, 

As matter whole you have not to make it with, 
It must not be with this. 

The original copy reads — a As matter whole you have 
to make it with:" and which I think perfectly correct. 

Antony says, If you'll patch a quarrel, i. e. make it a 
patch'd piece of business, when you have the matter, (the 
means) in your power to make it whole with, it must not 
be with this : meaning, it must not be with this that it 
can be made whole. The matter that he has in his 
power to make it whole with, is, to accept Antony's 
asseveration, that he was in no measure privy to, or con- 
cerned in the war. 

According to the present text, Antony tells him, that 
he, (Caesar) has not any matter in his power that can 
ever repair the breach, or make whole again the con- 
fidence and friendship which formerly subsisted between 



ANTONY AND CLEOPATRA. 291 

them ; therefore, Caesar may act as he pleases, they must 
remain at enmity. 

The negative adverb, introduced by Mr. Rowe, as an 
emendation, should, in my opinion, be expunged. 



Scene II. — page 74. 
Enobarbus. Go to then; your considerate stone. 

This line is deficient in metre, and consequently de- 
fective in point of sense : for which we may blame the 
transcriber; no doubt our Author wrote: 

Go to then; you're considerate as stone. 

Enobarbus means not himself, as my predecessors have 
imagined; but, from the freedom which his age and situa- 
tion give him with Antony, he retorts on him rebuke for 
rebuke, by telling him, to recommence the dispute which 
had partly subsided by his apology, and the intercession 
of Mecaenas. Go to then, meaning — Ay, begin again; 
or, get on as you like. The latter part of the verse, as 
corrected, perfects the sense : you're considerate as stone, 
meaning: you have no more consideration than a stone. 

The comparative particle, by its terminating with s, 
and the following word commencing with the same let- 
ter, was lost to the transcriber. 



Scene II. — page 81. 

Enobarbus. Her gentlewomen, like the Nereides, 

So many mermaids, tended her i'the eyes, 
And made their bends adornings : 

As nearly eight pages of small print have been em- 
ployed to elucidate this passage; it were an unpardon- 
able trespass on the reader to increase the notes, could 
I not, with confidence, (though at the same time with the 
utmost respect for those eminent characters, who have 

V 2 



292 ANTONY AND CLEOPATRA. 

attempted its illustration, declare their respective opi- 
nions quite erroneous. 

Cleopatra is supposed to be on the bosom of the deep ; 
the sea nymphs, to testify their duty, (by attending her,) 
are imagined to await on each side her commands. But, 
to give these nymphs a place on board the barge where 
they could display themselves to effect as mermaids, has 
not been considered by my predecessors, and in this the 
ingenuity of the Author is conspicuous. To bring the 
reader, then, to a just conception of the passage, I must 
describe the place whereon the gentlewomen, who 
represented so many mermaids, were stationed. 

All vessels, from a barge to a first rate man of war, 
must have what is termed bends : the bends are the chief 
support of a ship's sides, and form a kind of belt or zone 
of heavy plank. In proportion to the size of the vessel, 
the bends are elevated above the keel; but in such a 
vessel as a barge, when she glides upon the deep, her 
bends would not be, perhaps, more than a foot above 
the water. Exclusive of the strength a vessel receives 
by means of the bends, they are of great service to the 
sailors, who frequently stand on them when regulating 
the rigging, or when heaving the lead for soundings. 
In pleasure barges, a sort of strong moulding, to give 
more room, is often attached to the bends; and in the 
royal yacht, at Deptford, upon the bends, is formed a 
narrow gallery, which is adorned with several pieces of 
statuary, carved in wood; perhaps, after the manner of 
the ancients. 

Having thus made the reader, in some measure, ac- 
quainted with the bends, I shall now point out the eyes, 
where the mermaids tended. Immediately over the bends, 
perhaps not more than an inch, are what is termed the 
chain-plates ,- these are pieces of plank, which have 
more than double the projection of the bends ; they are 
the support of the rigging, and are connected by ropes 
which run through the eyes, or, as they are more com- 



ANTONY AND CLEOPATRA. 293 

nionly called, the dead eyes : they are round blocks of 
wood, with three holes in each, and upon which the 
bearing- of the ropes depend that help to support the 
mast : In short, the rope ladders, and all the tackling", 
have some connection with this part of the vessel. 

The bends and eyes thus described, (though I must 
acknowledge but rather imperfectly,) it now only re- 
mains to say, that on the bends of Cleopatra's barge 
stood her gentlewomen ; and, to give effect to the scene, 
they were habited so as to appear as mermaids: To the 
waist, as we must suppose, they were uncovered, their 
hair gracefully playing on their bosoms, and a sort of 
painted work, to imitate the lower parts of the mermaid, 
enveloped the body of each lady, while, that part which 
appeared as the tail, floated: Thus, as the barge sailed 
along the river Cydnus, Cleopatra's gentlewomen, as 
so many mermaids, tended her Vthe eyes, (for there they 
held by the rigging, connected with the eyes,) and made 
the bends (whereon they stood) adornings : i. e. they 
adorned the bends, which, otherwise, would ha\e re- 
mained devoid of ornaments. 

However, there appears an error in the text, which, 
I suppose, took place from the difficulty of this seemingly 
abstruse passage. We should read: 

And made the bends adornings. 

To this, I have only to add, that, "At the helm a 
seeming mermaid steers," and, according to Sir Thomas 
North's translation of Plutarch, her gentlewomen, like 
the nymphs Nereides, tended the tackles and ropes of the 
barge. 



Scene III. — page 93. 

Soothsayek. 'Would I had never come from thence, nor you 
Thither ! 



294 ANTONY AND CLEOPATRA. 

The Soothsayer wishes that he had not quitted Egypt, 
and includes in the same wish, that Antony had never 
been there ; for, if Antony had never been in Egypt, 
the Soothsayer had never quitted his country. 



Scene III. — page 93. 

Soothsayer. 1 see't in 

My motion, have it not in my tongue; 

By motion, the Soothsayer means his intellectual 
powers; he perceives that the influence of divination is 
abated in him. 



Scene V .—page 100. 
Cleopatra. Ram thou thy fruitful tidings in mine ears, 

Though Ram, speaks great impatience, I believe we 
should read Rain; the dot being omitted over the/, the 
word Ram was conspicuous : besides, we cannot think 
Shakspeare would ram so vulgar a phrase into the mouth 
of Cleopatra. 



Scene V. — page 107. 

Cleopatra. 0, that his fault should make a knave of thee, 
That art not! — What? thou'rt sure of ; t? 

These distracted breaks totally pervert Cleopatra's 

meaning. The old copy reads, — 

" That art not what thou'rt sure of;" 

This reading, I think, is perfectly correct. 

The conduct of Antony has made a knave of the 
messenger, because his intelligence has robbed Cleo- 
patra of happiness : consequently he is not the messenger 
of good news, and which he is sure of; therefore, as the 



ANTONY AND CLEOPATRA. 295 

merchandize he has brought from Rome is bad news, 
tke same shall prove his ruin. The old reading should 
be restored. 



Scene VI. — page 111. 

Pompev. with which I meant 

To scourge the ingratitude that despiteful Rome 
Cast on my noble father. 

By the word meant, Pompey is made to speak like one 
already conquered; and that, had he been victorious, 
such was his determination, could he have effected ii. 
This is certainly erroneous, for though he has received 
overtures, he has not as yet acceded to them : he has the 
means yet in his power, and until a treaty be concluded, 
his intentions remain the same. I am certain we should 
read : 

with which I mean 

To scourge the ingratitude that despiteful Rome 
Cast on my noble father. 

Thus, he displays a fixed determination, unless a treaty 
correspondent with his wishes be ratified. 

The t, in the word To, which follows, was joined in 
sound to mean, and thus arose the error. 



Scene VII. — page 120. 

Antony. Thus, do they, sir: they take the flow o'the Nile 
By certain scales i'the pyramid ; 

Theophrastus mentions, that the Nile was formerly 
marine: It is mentioned by Seneca, that in the tenth 
and eleventh years of Cleopatra's reign, the waters of 
the Nile ceased their accustomed overflow: from this 
uncommon revolution was predicted the fall of two 
powerful sovereigns, which was eventually fulfilled in 
the overthrow of Antony and Cleopatra. 



296 ANTONY AND CLEOPATRA 

Scene VII. — page 126. 

Enobarbus. Drink thou; increase the reels. 

Menas has, in the preceding speech, wittily answered 
Enobarbus, by saying, that the third part of the world was 
drunk: To this, Enobarbus as wittily retorts, that since 
there is exactly a third part of the world drank, he must 
drink to become drunk also, that more than a third part 
should be in the same stale. 

To increase the reels, alludes to thereeling or staggering 
of a drunken man. 

In Romeo and Juliet, Friar Laurence, in comparing 
flecked darkness to a drunkard, uses the same word : 

"And flecked darkness like a drunkard reels 
From forth day's path-way," &c. 

I should have deemed an explication of this passage 
unnecessary, but that Mr. Steevens imagines the original 
to have received some injudicious alteration, and pro- 
poses to read : 

" Drink thou, and grease the wheels.'" 



Scene VII. — page 128. 

Come, thou monarch of the vine, 
Plumpy Bacchus, with pink eynei 

Dr. Johnson's explanation of pink eyne, (a small eye) 
seems perfectly correct. Bacchus is represented as un- 
commonly lusty; and surely, the fatter, or more bloated 
the countenance, the smaller the eyes appear. The 
sensation which makes a drunken person reel, proceeds 
from the head; which, in some measure to avert, nature 
inclines one to half-close the eyes. As for the example 
given by Mr. Steevens of the Drunken Clown, in Marius 
and Sylla, it cannot strengthen his argument, ih^t pink 



ANTONY AND CLEOPATRA. 297 

eyne means — red eyes; that is, eyes inflamed by drinking : 
for, we can scarcely imagine that the Drunken Clown 
resorted, to a looking-glass to take a peep at himself in that 
state, though we may naturally conclude, that, from the 
effects of liquor, he felt his eyes closing. 



ACT III. 

Scene III.— page 138. 

Enobarbus. That year, indeed, he was troubled with a rheum; 
What willingly he did confound, he wail'd: 
Believe it, till I weep too. 

There appears nothing in this passage to sanction Mr, 
Steevens's opinion, that Antony's tears were tears of joy. 
He certainly was well pleased at confounding the con- 
spirators, by totally overthrowing their measures ; but 
when he saw the noble Brutus, who had formerly been 
his friend, bathed in blood, and nature extinct in him, a 
remembrance of his virtues called up the finer feelings, 
and he wept for a friend. 

Enobarbus thinks that Agrippa may doubt the piety of 
Antony's tears : to remove this doubt, he tells him to believe 
it until he sees him weep, and which, as he conceives, 
is incompatible with his nature; therefore, until that 
takes place, he must credit the sincerity of Antony's tears. 
Enobarbus thinks himself formed of such impenetrable 
stuff, that tears might as readily be seen to drop from 
the sun as from his eyes. 



Scene IV. — page 146. 

A \ tony. — The mean time, lady , 

• I'll raise the preparation of a war 
Shall stain your brother; 

As I can only repeat the same reasons observed by 
my predecessors, for thinking the word stain an error, I 



298 ANTONY AND CLEOPATRA. 

refer the Reader to the notes in Johnson and Steevens's 
edition. 

Plutarch says, That Octavius, understanding the sud- 
den and wonderful preparations of Antony, was astonished 
at it, &c. Assuredly, our Author wrote : 

I'll raise the preparation of a war 
Shall stun your brother; 

The word stun is very familiarly understood to mean, 
astonish: Thus, Caesar cannot be disgraced, nor the feel- 
ings of Octavia particularly wounded ; it also corresponds 
with the extract from Plutarch ; and, in point of sound, 
and characters in MS. the words stun and stain are 
nearly similar. 

Mr. Theobald reads — strain, which I think very 
strained, indeed. Mr. Malone thinks a line has been 
lost! 



Scene VI. — page 155. 

C^sar. Best of comfort; 

And ever welcome to us. 

The alteration made by Mr. Rowe — Be of comfort, 
though rejected, afforded a more familiar conception of 
the passage than the elucidations tortured out of the 
present text : If we are to judge from the dissatisfaction 
testified by Caesar, at the private manner in which Oc- 
tavia travelled, and the wound he feels for having be- 
stowed her on an unworthy object, her appearance, at 
this juncture, could not prove, in any measure, a com- 
fort to him: and yet, the explanation given by Mr. Ma- 
lone is, — Thou best of comforters I and by Mr. Steevens— 
May the best of comfort be yours ! The present text is, 
however, that of the original copy. 

For Best read Rest, and I am convinced you have the 
Author's original word : 



■Rest of comfort; 



And ever welcome to us. 



ANTONY AND CLEOPATRA. 299 

There are no two letters more like each other, either in 
writing or print, than B and R. As for the meaning, 
the phrase explains itself: in Caesar's subsequent speech, 
he gives Octavia the same advice, but in other words — 
" Be ever known to patience." In the present passage, 
he merely means — be comforted, or, rest satisfied, u You 
are ever welcome to us." 



Scene VII. — page 158. 

Cleopatra. Is't not ? Denounce against us, why should not we 
Be there in person ? 

Enobarbus, in council, gave it as his opinion, that 
Cleopatra should not be present in the war; and for 
which she now attacks him. In order, then, to give 
full force to words which should display that self-im- 
portance ever attached to royalty, we have only to mark 
Cleopatra's astonishment at what she considers the 
daring effrontery of Enobarbus, and which is effected 
by a note of admiration. 

Enobarbus has just said, — "Well, is it, is it?" To 
which Cleopatra replies, — 

Is't not? Denounce against us! Why should not we 
Be there in person ? 



Scene VIII. — page 166. 

Yon ribald-rid nag of Egypt, &c. 



Where generous encomium is conferred, it becomes 
rather painful to disturb what criticism has applauded. 
In the present instance, Mr. Steevens has certainly 
helped the passage : for, I believe, ribaudred, as in the 
old edition, has no claim to a place in any language : 
and yet, ribald-rid cuts but an awkward figure ; for Scarus, 
though he darts the lance at Cleopatra, hits Antony: 
ribald being a substantive exclusively applicable to the 
male sex. 



300 ANTONY AND CLEOPATRA. 

To me it seems perfectly clear, that the compositor 
could not decypher the word, but combined as many 
letters as formed the corrupt word — ribaudred. 

Cleopatra has appeared obstinate, to an excess, even in 
the manner of conducting the war: At her instigation, 
depending on her sixty sails, she influenced Antony to 
meet Caesar by sea; a measure wholly disapproved of 
by his officers. To this obstinacy Scarus alludes, and 
the contemptuous appellation that he designs, is to 
term her — That cross-grained (obstinate) nag of Egypt. 
For this purpose, he introduces the French adjective — 
rebours; but in the patois or low French — reboured: 
Cest un cheval reboured (It is a cross-grained horse,) a 
term given to a restive animal. But if we read — hag, 
the passage would then mean, — that cross-grained hag of 
Egypt. — And, indeed, it is highly probable, the tran- 
scriber did not sufficiently elevate the downstroke of 
the h, which appeared to the compositor to be an n. I 
would, therefore, read : 

-Yon reboured hag of Egypt, 

Whom leprosy o'ertake! i'the midst of the fight, — 
When 'vantage like a pair of twins appear'd, &c. 

The example which Dr. Johnson gives in his Dic- 
tionary, of the word cross-grained is of material conse- 
quence to this passage : 

" The spirit of contradiction in a cross-grained woman, is in- 
curable.'' 

Reboured, compared with ribaudred, will be found 
to differ very little: the corrupt word has a d more: an 
a instead of an o is an error easily accounted for, parti- 
cularly when in a foreign word. Be it also observed, 
that reboured, is sounded as a dissyllable, which leaves 
the verse perfect, that is now beyond its limits. 

Admitting ribald to mean a lewd fellow, to whom must 
the term be applied? Surely Scarus would scarcely 
wish Antony to be attacked by the leprosy ? And, a lewd 
fellow cannot be applied to Cleopatra. 



ANTONY AND CLEOPATRA. 301 

Mr. Steevens interprets the present reading: — Yon 
strumpet, who is common to every wanton fellow. I see 
nothing like strumpet in the passage. 

A few words more in defence of hag: A nag is a 
young, or small horse. I believe the term is never given 
to mares: a young mare is generally called a filly. — 
Certainly, neither the age, sex, beauty, nor majestic 
stature of Cleopatra can warrant the term — nag. 

Mr. Tyrwhitt, when he proposed to read — hag, very 
judiciously observed its correspondence with a subse- 
quent speech of the same speaker : 



»" She once being loof d, 



The noble ruin of her magic, Antony 
Claps on his sea-wing." 

The h and n are next each other in the letter case : 
nag for hag is merely a misprint. 



Scene IX.— page 170. 
Antony. Which has no need of you; be gone: 
Mr. Steevens would perfect this verse by reading — 
begone, I say. I am rather inclined to think the words 
— he gone, should be repeated; which denotes his im- 
patience to be left alone : be gone, in the second instance, 
might have been omitted bv either the transcriber or 
compositor. 



Scene IX.— page 170. 

Antony. ■ —take the hint 

Which my despair proclaims ; let that be left 
Which leaves itself: 

Antony says, take the hint which my despair proclaims" 
surely, this hint is for them to seize the treasure, which, 
otherwise, he thinks will fall into the hands of Caesar. 
We should read : 



302 ANTONY AND CLEOPATRA. 
. take the hint 



Which my despair proclaims ; lest that be left 
Which leaves itself: 

The gold could not remove itself. He, however, may 
allude to himself; that they should leave that dignity 
behind, which, by his flight from the enemy, he no longer 
merits. If this be the true meaning, the text requires 
no alteration. 



Scene IX. — page 174. 

Iris. Go to him, madam, speak to him; 
He is unqualitied with very shame. 

He has lost his customary dignity, he droops with 

very shame. Antony, in his subsequent speech, seems to 

explain the word : 

" I have offended reputation; 
A most unnoble swerving:." 



Scene XI. — page 179. 

Enobarbus. Think, and die. 

Reflect on the misfortunes your obstinacy and ill- 
advised plans have occasioned, and speedily terminate 
your existence. 



Scene XI. — page 181. 

Enobarbus. at such a point, 

When half to half the world oppos'd, he being 
The mered question : 

This is simply a typographical error: the Author 
wrote meted) — L e. measured : 

at such a point, 



When half to half the world oppos'd, he being 
The meted question : 

Half the world was measured in Antonv. 



ANTONY AND CLEOPATRA. 303 

Scene XI. — page 182. 
Antony. Let her know it, — 

A word has evidently been lost: Mr. Steevens pro- 
poses to read — Let her know it then. But as the 
ambassador says not another word during the scene, 
this reading would be highly absurd. In my opinion, 
as Antony makes himself the organ of Caesars message 
to Cleopatra, the Author wrote : 

We'll let her know it. — 

And this he does immediately. 

Both the sense and measure speak the necessity of 
this emendation, 



Scene XI. — page 185. 

Cleopatra. None hut friends; say boldly. 

A word is evidently wanting to complete the measure. 

Sir T. Hanmer reads — None here but friends : that is, in 

this place: but I think, from the words just used by 

Thyreus, we should read : 

None hear hut friends: say boldly. 

He may speak as boldly as he pleases, for none but 
friends hear him. What makes this word more cor- 
respondent is, that Thyreus has just said — " Hear it 
apart." To which Cleopatra replies, — None hear but 
friends. 



Scene XI. — page 185. 

Enobarbus. Whose he is, we are; and that's Caesar's. 

I cannot see how either Cleopatra or Enobarbus can, 
with any degree of propriety, make this assertion; 
Antony is at present the professed enemy of Caesar, and 



304 ANTONY AND CLEOPATRA. 

cause* this very ambassador to be whipped. How, then, 
can we suppose that Enobarbus would say — Whose friend 
Antony is, we are also, and that's Caesar 's ? The compo- 
sitor certainly took the characters that form the word if, 
for an apostrophe and an s. The text demands cor- 
rection; and I am almost certain Shakspeare wrote: 
Whose he is, we are; and that, //"Caesar's. 

Thus, if Antony becomes the friend of Caesar, those 
connected with Antony becomes Caesar's friends also. 

The diction of this speech shows, in my opinion, that 
Mr. Malone's conjecture is correct. This speech belongs 
to Cleopatra. The royal style — we and us, Enobarbus 
dared not assume in her presence. 



Scene XI. — page 187. 

Cleopatra. Most kind messenger, 

Say to great Csesar this, In disputation 

I believe the present reading correct. — Cleopatra 

means, — Say to great Caesar, that his words, of which 

you are the organ, are so strong and prevailing, that 

neither my principles nor interest can dispute against 

them ; and that, in submitting to them, I lay my crown 

at his feet. What materially confirms this to be the 

true reading is, that she concludes the speech with an 

acknowledgment, that his words are indisputable : 

In disputation 



I kiss his conqu'ring hand: tell him, I am prompt 
To lay my crown at his feet, and there to kneel : 
Tell him, from his all-obeying breath I hear 
The doom of Egypt. 

Dr. Warburton explains the word disputation to mean 
by proxy; but Mr. Steevens contends that we should 
read — deputation, and which has occasioned some con- 
troversy. 



ANTONY AND CLEOPATRA. 395 

ACT IV. 

Scene II.— page 202. 
Enobarbus. I'll strike; and cry, Take all. 

These equivocal words of Enobarbus seem to have de- 
ceived the Commentators as well as Antony : Enooarbus 
had predetermined to quit Antony's service, and this is 
the notice he gives of his intention, — I'll strike, and cry, 
Take all. Meaning- : — I'll quit your service, and now tell 
you, that all I have gained in it, I leave you : He accord- 
ingly quits that night, or early the following morning, 
and leaves his wealth behind. See sc. v. of this Act, 
where Antony is informed of his desertion, and where 
Eros says, — 

" Sir, his chests and treasure 

He has not with him." 

Antony, as Dr. Johnson interprets the text, considers 
Enobarbus to mean, " Let the survivor take all : No 
composition : victory or death." The word strike is 
peculiarly familiar, and invariably used by mechanics, 
when they form a combination against their employers, 
in order to obtain additional wages : they strike : that 
is, they quit their employers, and if they do not obtain 
the desired increase, they seek work elsewhere. Strike 
is also a common phrase used by revolters, Come ; let 
us strike at once, and join the enemy. 



Scene V. — page 212. 

Antony. 0, my fortunes have 

Corrupted honest men : — Eros, despatch. 

The desertion of Enobarbus gives a shock to Antony's 
feelings, that he cannot immediately surmount. The 
first folio reads — "Dispatch Enobarbus .•" From this, I 
should imagine, our Author wrote : 

x 



306 ANTONY AND CLEOPATRA. 



O, my fortunes have 



Corrupted honest men: — Despatch ! — Enobarbus ! 

Action can give great effect to this passage. It marks 
Antony's surprise, and speaks the estimation in which 
he held the man who has deserted him in the day of dis- 
tress ; as though he said, — Is it possible that Enobarbus 
has deserted me ! 



Scene VI. — page 216. 

Enobarbus. This blows my heart: 

All the early editions have, — 

" This bows my heart:" 

There is a corrupt passage in King Leah, — " A 
sovereign shame so elbows him," which should read — A 
sovereign shame soul bows him. The passage is in 
Act IV. sc. iii. where Kent speaks of Lear's heart-felt 
depression on hearing of Cordelia's pious duty. 

If, then, we consider the character of Enobarbus, who 
is represented as a stubborn, hardy warrior, but who is 
now overcome by Antony's kindness, I think the word 
bows, more expressive than the present text; and from 
the comparative sense of injuries, Lear to Cordelia, and 
Enobarbus to Antony, the word seems equally happy in 
its application : for my part, I think it the Author's* 



Scene VIII.— pag-c 220. 

Antony. thou day of the world, 

Chain mine arm'd neck; leap thou, attire and all, 
Through proof of harness to my heart, and there 
Ride on the pants triumphing. 

The beauty of this passage is destroyed by the word 
day: what figure have we in making a day chain his 
neck, and leap through Antony's armour to his heart ? 



ANTONY AND CLEOPATRA. 3Q7 

The phrase is incongruous to an extreme, and obscures 
one of the finest compliments, of the many, which Antony 
pays to the charms of Cleopatra. In short, the word 
is corrupt in its present place ; for, a day being a space 
of time, cannot be personified in Cleopatra, so as to 
produce any happy effect. I am convinced our Author 
wrote : 

thou ray of the "world. 



Chain mine arm'd neck; leap thou, attire and all, 
Through proof of harness to my heart, and there 
Ride on the pants triumphing. 

Thus, we gain a most lively figure : Antony calls her 
the light of the zcorld, and in comparing Cleopatra to 
the sun's rays that encircle the earth, he tells her to 
encircle his neck, by embracing him ; and as the sun's rays 
penetrate even solid bodies, so he tells her to dart through 
his armour to his heart, and there to ride on the pants 
triumphing. 



Scene X.—page 224. 

Axtony. They have put forth the haven : Further on, 

This passage has received the words Further on y from 

the early Editors ; I think it can be further aided, by 

reading — 

They have put forth the haven: Let's further* 
Where their appointments we may best discover, 

Mr. Malone would read— Lefs seek a spot. 



Scene X. — page 227. 

Antony. Triple-turn d whore ! 'tis thou 

Hast sold me to this novice; 

However plausible this term may appear, and however 
appropriate to the incontinent Cleopatra, it has been 
considered by Dr. Johnson as erroneous: to correct 

X -2 



308 ANTONY AND CLEOPATRA. 

which, he has proposed — triple-tongued. Double-tongued 
is certainly in common use, and all know its meaning ; 
but triple-tongued goes beyond the stretch of imagination ; 
for as there is but good and evil for moral wisdom to 
discriminate, so there can be only good and evil from 
the same tongue. 

But let us take into consideration the vicious career of 
Cleopatra: her heart has never been awakened either 
to a sense of shame or guilt : she was first the mistress 
of Julius Caesar; after him, instead of shunning vice, 
she became farther initiated in it, by her second master, 
Cneius Pompey; and, if we may use the phrase, was 
perfected under the tuition of her third master, Mark 
Antony: — Thus, as Antony knows that her criminal 
career has been under three masters, and although he 
views in himself the last, yet he spares not the lash, 
but acknowledges the share he has had in her vicious 
education; and, as if he were speaking of a soldier that 
had been trained to arms under three celebrated generals, 
gives her the epithet : 

Triple-train d whore ! 

i. e. Having passed through two degrees of comparison 
with her former masters, she became superlatively a 
whore with him. 

In opposition to the present text, I must add, that a 
female who has deviated from the paths of virtue, and 
obtained thereby an infamous title, must reform, and 
relapse again and again, before she can be termed a 
triple-turn' d whore; and I believe the licentious Cleo- 
patra never testified, in any respect, either contrition or 
reformation; consequently, she fell not even a second 
time from virtue. 



ANTONY AND CLEOPATRA. 309 

Scene X.—page 228. 

Antony. The hearts 

That spanieVd me at heels, 

All the early editions read — TlmtpannelVd me at heels. 
The present very judicious reading was first introduced 
by Sir T. Hanmer; and though I am strongly inclined 
to think it not the Author's, yet it is entitled to the praise 
bestowed on it by the Commentators. 

When a person bows obsequiously for a favour, though 
it is the act of the man, yet it is the motion of the body, 
and it may be said, his heart bozcs. When a person 
kneels, it becomes a supplication, in which the heart 
humiliates itself, and the knees act correspondent with 
its desires. The bending of the knee is supplicatory ; but 
kneeling to the ground on one knee, is more so, and 
due to monarchs on soliciting certain favours. Now, 
the word, in my opinion, used by Antony, is pan-kneel 'd '; 
The knee is merely a joint; the knee-pan, the convex 
bone that protects the joint. Thus, the slight bending 
of the knee is not the desired figure; it is the bending 
the knee in its knee-pan to the ground, and following 
on heel and toe, at Antony's heels, until the suit was 
granted. 

In respect to similarity of sound between pan-kneeVd 
and panneWd, there is scarcely any difference; nay, the 
transcriber probably wrote pan-neeVd, which not being 
understood by the compositor, he made it pannelVd. So 
that there would be only the ignorance of the transcriber 
to call in question, who spelt kneel, (omitting the k) neel, 
all the rest of the characters are the same. I am there- 
fore, convinced, our Author wrote : 

The hearts 



That pan-kneefd me at heels, 
As for the word spanieVd, however judicious, its sig- 
nification is not sufficiently limited; for, not only courtiers 
and officers, but soldiers, and all ranks of people, may be 



310 ANTONY AND CLEOPATRA. 

said to spaniel a king, or any other great personage that 
attracts curiosity. 

We have a passage in King Lear not far removed 
from this figure : 

I could as well be brought 



To knee his throne; and, squire-like, pension beg," 



Scene XIII. —page 252. 

Cleopatra. Here's sport indeed ! — How heavy weighs my lord ! 
Our strength is all gone into heaviness, 
That makes the weight : 

To force an appropriate meaning from this passage, 
in its present state, is beyond every effort of human 
genius ; and the solemnity of the occasion on which the 
word sport has been used, proves, that Shakspeare's 
immortal genius has been sported with too long. Be it 
observed, that Cleopatra is in the monument, attended 
by Charmian and Iris ; and Antony, at the point of death, 
is borne in by his guards. 

The gross blunder that strips this passage of a beauty 
replete with genius, must be attributed to the transcriber, 
who, from the hissing sound of the s's 9 lost two letters, 
and carried the terminating one to the sequent word. 
Our great Bard wrote: 

Here's his port, indeed ! — How heavy weighs my lord ! 

The monument becomes the port ; there Antony (the 
vessel) is tugged or drawn in by Cleopatra and her at- 
tendants, (the mariners,) and there, the great vessel that 
had borne many a tempestuous gale becomes a final 
wreck. 

Dr. Johnson observes on this passage,—" I suppose 
the meaning of these strange words is, here's trifling, 
you do not work in earnest" And Mr. Malone says, — 
" Perhaps, she is thinking of fishing with a line, a diver- 
sion of which we have been already told she was fond." 



ANTONY AND CLEOPATRA. 31 1 

ACT V. 

Scene I. — page 257. 

Cjesau. Being so frustrate, tell him, he mocks us by 
The pauses that he makes. 

This passage, which has occasioned my predecessors 
some trouble, is susceptible of meaning-, though evi- 
dently corrupt. I read: 

Being so prostrate, tell him, he mocks us by 
The pauses that he makes. 

Meaning : Being so fallen, so perfectly subdued, he 
that should submit at once, and look to us for mercy, 
now, by the pauses which he makes, assumes the manners 
of a conqueror, and makes us await his leisure. 

The pro in the word prostrate, (in writing) bears 
strong similarity to fru, the rest of the characters are the 
same : this error must be attributed to the compositor. 



Scene II. — page 271. 

Cleopatra. Sir, I will eat no meat, I'll not drink, sir; 
If idle talk will once be necessary, 
I'll not sleep neither : 

Having reviewed the respective opinions on this 
passage, I find that most of my predecessors think a 
line has been lost, through the carelessness of the com- 
positor. I must, however, in this instance, advocate 
the cause of the artist, by pronouncing the text correct. 

Cleopatra being deprived by Proculeius of her dagger, 
the instrument with which she intended to terminate 
her existence, she points out other means of death, 
which fortitude and determination have left in her 
power. She will neither eat nor drink; and, for fear 
that sleep should prolong her life, she will not suffer it, 
in any manner, to overcome her: for this purpose, if idle 



312 ANTONY AND CLEOPATRA. 

talk (insignificant conversation with others, or talking 
to herself like one with a distempered mind,) will be for 
once necessary ', i. e. useful for any purpose, she will, on 
this occasion, make it an instrument to prevent sleep : 
Thus, by self-deprivation of meat, drink, and sleep, she 
will effect her purpose, in defiance of all Caesar's exer- 
tions to the contrary. 



Scene II. — page 273. 
Cleopatra. My country's high pyr amides my gibbet, 

A transposition has certainly been made in this passage : 
the es in pyr amides belong to high, with which, and the 
addition of a t, a pure sense is obtained : 
rather make 



My country's highest pyramid my gibbet, 
And hang me up in chains ! 

How could she be hanged on more than one gibbet ? 
By this slight correction, all incongruity is removed. 



Scene II.— page 274. 
Cleopatra. The little 0, the earth. 

The old copy reads — The little 6* the earth. 

Cleopatra calls to her aid celestial bodies to form 
comparisons for her fallen hero. What the beneficence 
of heaven proves to the earth, she would make Antony 
appear to have been to man. As the earth is illumi- 
nated by the heavenly bodies, so did the genius of 
Antony enlighten or illumine mankind. This being her 
meaning, I am of opinion, the text, as in the old copy, 
is correct; and this opinion is materially strengthened 
by a passage in Julius Cjesar : 

" Why, man, he doth bestride the narrow world 
Like a Colossus; and we petty men 
Walk under his huge legs." 



ANTONY AND CLEOPATRA. 313 

Scene II. — page 275. 
Cleopatra. His legs bestrid the ocean : 

She alludes to his naval forces : though seas divided 
his territories, yet he united them. Antony, in Act IV. 
sc. xii. says, 

And o'er green Neptune's hack 



With ships made cities 



Scene II. — page 275. 

Cleopatra. his rear'd arm 

Crested the world. 

The Commentators, under the conviction that this 
passage is correct, suppose Antony's reared arm to be in 
allusion to the manner in which our kings have been 
accustomed to confer the honour of knighthood. But, 
I am rather inclined to think the passage corrupt : for 
how his arm was to crest the world, is such an hyper- 
bole, that it goes beyond figure. 

It is true, that the entire of this speech displays 
figures the most exaggerated that human imagination 
can conceive; but to each, excepting this, there is some 
corresponding similarity with nature. But, here, the 
hyperbole is lost, for the world could bear no crest ; nor 
are we to suppose that the honour of knighthood was 
conferred on all mankind. As I have already observed, 
then, that the passage is corrupt, reflection confirms the 
opinion. I believe our Author wrote : 

— — His rear'd arm defied the world. 

Thus, following up the powers of strength propor- 
tioned to the Colossus, whose legs bestrid the ocean, when 
his rear'd arm sunk with force, he would split the world : 
but, the true sense is, that his reared arm denoted war 
against all opposers to his power; and that by it he ob- 
tained such universal sway, that he cleft , i.e. he divided 



314 ANTONY AND CLEOPATRA. 

the world between himself and Caesar. Lepides had 
little more than nominal power. 



Scene II. — page 275. 

Cleopatra. -his voice was propertied 

As all the tuned spheres, and that to friends ; 

What is there extraordinary in this, that Cleopatra 
should mark a perfection in Antony, that every person, 
even tyrants, possess ? His voice was harmoniously 
sweet, and that, when he spoke to his friends ! — Surely, 
the most discordant voice would strive to modulate its 
tones on such occasions. For my part, I am so well ac- 
quainted with the errors that compositors make through 
forgetfulness, particularly by omitting words, or sub- 
stituting one word for another, in any sentence committed 
to memory, that I am certain our Author wrote : 



his voice was propertied 



As all the tuned spheres, and that to foes; 

Thus, even when speaking to foes, the same har- 
monious accents issued from his tongue; but, when he 
meant to make them feel his power, then Ms voice was a 
rattling thunder. 

Mr. Steevens observes, — The modern editors read, 
with no less obscurity,— when that to friends. In the 
subsequent part of this speech, an error got footing in 
the old copy through similar carelessness : the com- 
positor, thinking of Antony, made the passage read — 
" An Antony 'twas" instead of — An Autumn 'twas: In 
like manner, he was thinking, that a soft voice should 
be only used to friends, and never thought of displaying 
either Antony's policy or greatness of soul, by making 
him address his foes with mildness. 



mtttg Utar, 



ACT I. 

Scene I. — page 310. 

Regan. I am made of that self metal as my sister, 
And prize me at her worth. 

However highly you estimate my sister's love, mine 
being equal, merits an equal mark of your affection. Or, 
The same value that you place on my sister's affections, 
I merit, for I am in every respect her counterpart. 



Scene I. — page 312. 

Cordelia. 1 am sure, my love's 

More richer than my tongue. 

Cordelia knows the insincerity of her sisters' profes- 
sions : — the love she feels glows in her heart, — therefore, 
richer : i. e. purer than mere expressions. 



Scene l.—page 323, 
Burgundy. Election makes not up on such conditions. 

Mr. Malone asserts, that the present text is correct ; 
and says, Election makes not up, means — " Election comes 
not to a decision:" and, as a more modern sense— 
" I have made up my mind on that subject."— For my 



316 KING LEAR. 

part, I cannot reconcile my mind to either the one 
sense or the other, and do not hesitate to pronounce 
the passage corrupt. 

I have often had occasion to say,— the transcriber 
mistook the sound of the word ; and I am sorry to 
resume the same phrase in the first scene of this play ; 
but, surely, the very characters with which the corrupt 
words correspond, (one letter excepted,) prove that our 
Author wrote : 



Pardon me, royal sir 



Election mates not upon such conditions. 

Here we have three errors in two words, and one 
letter corrects the passage ! 

The Duke means : Though Cordelia is the object of 
my choice, or, the election of my heart, yet, I cannot 
wed her upon such conditions. When the Duke of Bur- 
gundy became a suitor for Cordelia, Lear stipulated 
her marriage portion ; and although he has resigned 
two-thirds of his dominions to his other daughters, 
yet Burgundy is satisfied to take Cordelia with the com- 
paratively small portion originally promised. — See a 
subsequent passage in this scene, where the Duke wishes 
to hold good his engagement : 



Royal Lear, 



Give but that portion which yourself propos'd, 
And here I take Cordelia by the hand, 
Duchess of Burgundy." 

Thus, the Duke cannot be confounded with a trades- 
man who contracts for a piece of work : — it is Lear who 
violates his engagements ; and the contracts of princes 
should be held inviolate. 



Scene I. — page 324. 

France. Sure, her offence 

Must be of such unnatural degree, 

That monsters it, or your for e-vouch 'd affection 

Fall into laist : 



KING i.EAR. 317 

That monsters what ? This passage seems to have been 
passed by all the Commentators, except Mr. Malone, 
who says, it was the phraseology of Shakspeare's time ; 
and Mr. Sieevens, who observes, that monsters is a very 
uncommon verb. Indeed, so uncommon, in my opinion, 
that, in the present instance, I am certain our Author 
did not call it to his aid. In short, I believe there are 
several monstrous errors in the passage. I read : 
Sure her offence 



Must be of such unnatural degree, 

That man starts at, or you, for vouch' d affection, 

Fall into taint : 

Here is a natural and familiar construction, that sends 
the monster from human society. These errors proceed, as 
usual, from the transcriber : — monsters it — man starts at, 
are words very different in sense, but singularly near in 
sound, and vary very little in their characters. Your 
fore-vouched, and you, for vouched, are as near as possible, 



Scene I.— page 329. 

Regan. And well are worth the want that you have wanted. 

Where the folio and quartos disagree, there is gene- 
rally an undiscovered error ; and the designed mono- 
tony of this line proves, that the Poet did not intend 
either of the repetitions which they exhibit. Compo- 
sitors, indeed, where a number of words begin with the 
same letter, are very apt to repeat the preceding ; and 
thus the quartos got — worth the worth; which, I suppose, 
the Editor of the folio disapproved, and changed to 
worth the want. In my opinion, our Author wrote : 
And well are worth the wit that you have wanted. 

Meaning : you are worth nothing; have nothing ; and 
all for want of wit: i. e. common sense. 



318 KING LEAR. 



Scene I. — page 330. 

Cordelia. Time shall unfold what plaited cunning hides ; 
Who cover faults, at last shame them derides. 

In the first line of this couplet, our Author had in 
view that external part of dress, called a ruff, and 
which, in his time, was worn both by males and females. 
Those ruffs were neatly plaited ; and when torn or de- 
cayed, it required the art of the laundress, by stiffening 
and plaiting, to conceal such defects ; but, as this inge- 
nuity could not resist the weather, the poverty of the 
wearer appeared manifest as the ruff became limber. 
In like manner, the hypocrisy and cunning of Goneril 
and Regan, will, to their confusion and disgrace, in the 
course of time, be exposed to public view. 

In respect to the second line, it does not afford so 
clear a sense as that which we obtain from the first folio, 
which reads : 

" Who covers faults at last with shame derides." 

Had Goneril and Regan been virtuously inclined, 
when Lear became exasperated at the ingenuous con- 
duct of his once-loved Cordelia, they would have soft- 
ened matters so as to convince him of his error ; but, 
corrupt in their nature, no such generous sentiment 
entered their hardened bosoms ; but prompted by the 
Devil, who covers the iniquitous proceedings of his vo- 
taries, until perfectly assured of his prey, the hypocrisy 
and selfishness of Goneril and Regan triumphed over 
the candour and disinterestedness of Cordelia. But, as 
the Devil, in the course of time, deserts his most de- 
voted friends, Cordelia tells her sisters — That He " who 
covers faults at present, at last with shame derides :" that 
is, withdraws that veil which screened detection, and 9 
laughing at his servants in the hour of danger, suffers 
them to become objects of public contempt. 



KING LEAR. 319 

Scene I. — page 375. 

Lear. The untented woundings of a father's curse 
Pierce every sense about thee. 

The only sense which the present reading affords, 
Mr. Steevens has furnished; but, as Commentators, like 
doctors, differ in opinion, mine is, that the woundings 
are so corrupt, they require fresh dressing : — Assuredly, 
our Author wrote : 

The indented woundings of a father's curse, 

What part is wounded?- — the heart! Can a tent be 
applied to an internal wound ? — No ! What occasions 
the indented woundings ? a heavy pressure of affliction: 
Then, as Goneril is the immediate cause of Lear's an- 
guish, so proceeds his curse from the affected part. — 
See Act II. sc. iv. where Lear makes known his distress 
to Regan : 

0, Regan, she hath tied 



Sharp-tooth'd unkindness, like a vulture, here." 

[Points to his heart. 

The transcriber's ear deceived him : — untented and 
indented are nearly alike both in sound and characters. 



ACT II 



Scene II.— page 393. 

Kent. Good dawning to thee, friend: Art of the house? 

At the conclusion of this scene, Kent says, — 

" Fortune, good night; smile once more; turn thy wheel !" 

How then can this be the dawning of day? Why 
Mr. Malone should be so strenuous to change night to 
morning seems very strange ; especially as, by so doing, 
incongruity is forced into several scenes of this Act. 
As for the present passage, I am convinced it is corrupt ; 



320 KING LEAR, 

and of this the early Editors were certain, though they 
knew not what word to substitute, in order to make 
the time correspond. The present reading, I am inclined 
to think, is that which was obtained from the first edi- 
tion of the play; but the quartos read — u Good even." 
Thus, from not being able to surmount the difficulty, 
some have good dawning, — others, good even. 

When Lear delivered the letters to Kent, he observed, 
— " If your diligence be not speedy, I shall be there 
before you." To which Kent replied — That he would 
not sleep until he delivered the letters : this was after Lear 
returned from hunting. Accordingly, Kent used the 
utmost expedition; but, arrived at Regan's, he found 
that she had set off for Gloster's castle : thither he 
followed; and, having delivered his letters, indulges 
in reflection in the court before Gloster's castle. Here 
he is accosted by Goneril's steward, who, being un- 
acquainted with the house, wishes Kent that which he 
wants for himself and his horses — a shelter from the 
night. Farther preamble is unnecessary, only to ob- 
serve, that had it not been dark, the Steward must have 
known Kent, who had so recently tripped up his heels. 
I am convinced that the terminating d in good was car- 
ried in sound to the next word, and thus the error. I 
read, as I am convinced our Author wrote : 

Good awning to thee, friend : Art of the house ? 

An awning is a cover spread over a ship to keep off 
the heat or wet ; but it is not confined to this alone ; 
for we find, in Robinson Crusoe, according to his own 
words, — " Of these boards I made an awning over me." 
This, then, is what the Steward requires, he wants a 
shelter; and, to make his immediate want known to 
Kent, he wishes him that which, he thinks, from the 
advanced hour of the night, he should be enjoying ; — 
and, as he supposes that Kent belongs to the house, the 
hint, he imagines, will have the desired effect. 



KING TEAR. 321 

Scene II. — page 394. 

Kent. If I had thee in Lipsbury pinfold, I would make thee care 
for me. 

If he had him in a pinfold, from whence he could not 
run away, he would give him a sound drubbing. If 
lipsbury was not a phrase well known in our Author's 
time, to imply gagging, it has been coined for the purpose ; 
as it is evident Kent means, — Where the movement of 
thy lips should be of no avail. 



Scene II. — page 395. 

Kent. Three-suited knave. 

I am certain our Author wrote — tree-suited. A tree' 
suited knave, means, one fitted for the gallows. 



Scene II. — page 395. 

Kent. Glass-gazing, superserviceable, finincal rogue: 

The figure which exhibits subject for this epithet is 
that of a valet-de-chambre, who, during the time his 
master is employed at his toilet, stands behind his chair, 
and never stirs but to obey orders ; and, the glass being 
before him, he cannot avoid gazing at his own image. 



Scene II. — page 396. 

Kent. Barber-monger. 

The degrading epithets, of which Kent has been so 
lavish, are not altogether applicable to the Steward; 
but his being a servant is enough, and Kent lays them 
on without mercy : for instance — a jilthy worsted-stocking 
knave, only suits a livery servant; coloured worsted 



r 



Z%2 KIXG LEAR. 

stockings being part of a servant's livery. Glass-gazin^ 
knave, means a valet-de-chambre ; and barber-monger, 
is but another appellation for valet, or glass-gazing 
knave; it being the business of such a servant to shave 
and dress his master's hair : from this, I should imagine, 
the epithet barber-monger, i. e. an inferior kind of bar- 
ber; one not regularly initiated in the art. 



Scene II. — page 408. 
Kent. — Give you good morrow ! 

It has been a strongly controverted point, whether 
this scene should be understood to take place at night 
or morning ; but the scale seems to be at a poise, and 
nothing decisive can be obtained from either argument. 
This, however, strongly demands regulation ; for though, 
to render this play more interesting to modern taste, 
some scenes have been ejected, extraneous matter omit- 
ted, and the solemn dirge changed to the trump of 
victory : yet, as this scene maintains a leading rank, the 
time it should denote becomes an object of very material 
consideration. 

On this also depends the correction of some passages, 
which, in their present state, are as obscure as night. 
The words, Give you good morrow, Mr. Malone strongly 
urges in defence of morning; and, that Kent awaits the 
rising of the sun to have sufficient light to read Cordelia's 
letter. See Kent's subsequent speech : 

" Approach, thou beacon to this under globe, 
That by thy comfortable beams I may 
Peruse this letter!" 

In Act I. sc.iv. Goneril sends her Steward with a let- 
ter to Regan ; Lear also dispatches Kent with letters to 
Gloster ; the Steward and Kent arrive together at Glos- 
ter's castle ; they quarrel, and Kent, in the currency of 
invective, says, — "for, though it be night, the moon 



KING LEAR. 323 

shines:" immediately after lie is put in the stocks; — 

therefore, it cannot be morning. In Act II. sc. i. where 

Edmund's artifice occasions Edgar's flight, Gloster and 

his servants enter with torches : 

Gloster. " Now, Edmund, where's the villain?" 
Edmund. " Here stood he in the dark" &c. 

And Curan, not ten minutes before, said to Edmund, 

" the Duke of Cornwall and Regan his Duchess will be 

here with him to-night." Immediately after, Cornwall 

and Regan enter, and Cornwall says, — 

" Here now, my nohle friend ? since I came hither 
(Which I call hut now,)" 

Of course, night. 

In the same scene, Regan says, — 

" I have this present evening from my sister 
Been well inform 1 d of them/' 

Again, — Alluding to her visit, Regan says,— 
" Thus out of season; threading dark-ey'd night.''' 

In the evening she received the letter; so that her 
palace could not have been far from Gloster's; other- 
wise, instead of demanding Gloster's needful counsel, she 
would have sought repose : but the night was still young. 
The scene changes, (the present scene,) but darkness 
still prevails : The Steward, who had accompanied Re- 
gan, enters, — he encounters Kent, and so dark is the flight, 
that he cannot recognize the man who tripped up his 
heels the afternoon of the same day: Kent and he quar- 
rel, and, in about twenty minutes after, Kent is placed in 
the stocks. Lear arrives; he demands the cause of Kent's 
punishment.; Kent details circumstances : The exas- 
perated King goes to see Cornwall and Regan; he 
shortly returns, accompanied by Gloster, and repeats the 
answer he received : 

Lear. " Deny to speak with me ? They are sick? 
They have travelld hard to-night?'' 

Had the time been even turned of midnight, our Author 
would have noticed it, for he has proved himself parti- 

Y2- 



3 c 2i KING LEAR. 

cularly careful in distinguishing night from morning : In 
Richard III. after Richard starts out of his dream, he 
says, It is now dead midnight ; and, shortly after, Ratcliff 
enters, and observes, — 

The early village cock 



Hath twice done salutation to the morn." 

See, how nice is our Author's distinction of time! 
and, surely, had it been after midnight when Lear sent 
to Regan, her answer would have been, that she had 
travelled hard last night. 

But so far is it from being morning, that during the 
period allotted for this scene, the same obscurity which 
prevents Kent from reading Cordelia's letter still re- 
mains; and expressly so, to prepare us for that violent 
tempest under which the barbarous Regan suffers her 
father to be exposed; for though, when Cornwall and 
Regan enter, Lear says, Good morrow to you both, this 
he says in derision, for their not coming to pay him that 
early respect which his liberality merited. 

I think it will be admitted, that no Dramatic Writer 

ever prolonged a scene to impress the idea, that there is 

a lapse of thirty-four hours while the characters remain 

on the stage; which must be the case, in the fourth 

scene of this Act, if Mr. Malone's theorem be conclusive ; 

which is, that Kent is impatient for the rising of the sun, 

that he may read Cordelia's letter: Now, be it observed, 

that when Lear enters with Gloster, he says, They have 

travelled hard to-night ; and when Lear departs from 

Gloster's castle, Gloster says to the unnatural daughters, 

"Alack, the night comes on, and the hleak winds 
Do sorely ruffle." 

Now, if this be not the same night that Kent was put 
in the stocks, — the same night that Lear, Regan, and all 
the parties arrive at Gloster's castle, — and the same on 
which Lear encounters the storm, more than the number 
of hours I have mentioned must have elapsed to bring- 
on another night ; and, during which time, the leading 



KING LEAR. 325 

characters of the Drama are present. But Gloster, in the 
above observation, merely means, that the gloomy part of 
the night advances : we may suppose about ten o'clock. 
To be brief, let any reader examine the play minutely, 
and he will find that, from Act II. sc. ii. when Kent was 
put in the stocks, (and at which time the impending storm 
had obscured the moon,) until the end of the third Act, 
it is a continuation of the same night, and the atmosphere 
still remains obscured ; for, when Gloster visits Lear at 
the hovel, he enters with a torch. 

Though I have dwelt so particularly on this point, I 
believe the intelligent investigator of Shakspeare's Plays 
will concur in opinion with me, that the observation made 
by Kent, a few minutes before he was put in the stocks, 
is sufficient to establish the time ; his words are addressed 
to the Steward : " Draw, you rogue ; for though it be night , 
the moon shines:" And again, when in the stocks, and 
alone, he says, "Fortune, good night." 

My reason for inserting this note as elucidatory of the 
words, Give you good morrow, is, because I am certain a 
word has been lost in that hemistic, and that we should 
read: 

A good man's fortune may grow out at heels, 
* , To give you good morrow. 

Meaning: That he may have the good fortune to get 
his heels out of the stocks by morning, and be at liberty 
to give him good morrow. 

This is the only passage which Mr. Malone quotes as 
his authority for thinking the time — morning. 

However, Mr. Malone is not the only Commentator 
who entertains this opinion; Mr. M. Mason, also, con- 
ceives it to be morning; and his authority is founded on 
the Steward's introductory words in this scene — "Good 
dawning to thee, friend:" but, by referring to my cor- 
rection of the corrupt word dawning, Mr. M. Mason's 
argument loses all force. 



326 KING LEAR. 

Scene II. — page 408. 

Kent. Good king that must approve the common saw I 
Thou out of heaven's benediction com'st 
To the warm sun ! 

Approach, thou beacon to this under globe, 
That by thy comfortable beams I may 
Peruse this letter! 

The first line of this speech is addressed as though 
the King were present ; the two subsequent express the 
saw, or proverb to which Kent alludes ; and here he 
makes a long pause, during which he searches his pocket 
for Cordelia's letter. But dark is the night, the moon 
is obscured; and though he knows the letter is from 
Cordelia, yet his anxiety to read it cannot be gratified. 
He invokes the moon : 

Approach, thou beacon to this under globe, 
That by thy comfortable beams I may 
Peruse this letter! 

The moon, as a beacon, is a most desirable one, both 
for navigators and travellers ; and, assuredly, her beams 
are highly comfortable. A dark and dreary night is 
called a comfortless night; and why? because the com- 
fortable beams of the moon do not appear to gladden the 
world. 

But the impending storm still screens her from him, 
and he is obliged to guess at the contents of the letter : 
this will be more strongly confirmed in the subsequent 
note. 



Scene II.— page 409. 

Kent. —Nothing almost sees miracles, 

But misery ; — 

I never heard, till now, that misery could so peculiarly 
see miracles; had it been Faith, which has wrought 
miracles, credit might be given to the assertion. But 
to zsrfiat miracles does Kent allude ? Surely his being in 



KING LEAR. 327 

the stocks is not a miracle ! disgrace it may be called ; 
and, as an uncommon punishment for a British Peer, 
astonishment may be added. 

A pure and a corrupt reading remained for the choice 
of our Commentators. The present text is from the 
folio; which, as a combination of words, may be under- 
stood; but certainly they bear no relation with Kent's 
misfortunes ; at least, to me, in their present state, they 
are incomprehensible. The quartos read : 

Nothing almost sees my wrack, 



But misery;' 

This is much better understood. The reflection is 
occasioned by the vexation he feels in not being able to 
read Cordelia's letter; for, otherwise, the darker the 
night the better, that his disgrace might be screened from 
observation. 

But Kent is anxious to read that which he concludes 
must give him consolation ; and, therefore, he invokes 
the moon to aid him by her comfortable beams, that he 
may gratify his curiosity; but even that luminary will 
not vouchsafe to behold his wrack, i. e. his downfal and 
disgrace; nothing will look upon him but misery. 

In Sidney's Arcadia, from which the episode of Gloster 
and his sons is taken, the King of Paphlagonia makes an 
observation to Leonatus, from which our Author seems 
to have taken a hint. The blind King says, — 

" Nothing doth become me but miserie!" 



Scene II. — page 410. 

Kent. and shall find time 

From this enormous state, — seeking to give 
Losses their remedies: — 

Doctor Johnson explains the word enormous, to mean 
unwonted, — Out of rule, — Out of the ordinary course of 



328 KING LEAR. 

things. I hope to prove that, in the present instance, it 
means — great. 

Mr. Malone thinks two half-lines have been lost be- 
tween the words state and seeking. Indeed, in the present 
state of the passage, I am not surprised that Mr. Malone 
formed such an opinion. Mr. Steevens, and other Com- 
mentators, consider this passage as detached, or divided 
parts of Cordelia's letter : hut how can Kent read the 
letter in the dark? See the two preceding notes. In 
short, the passage is corrupt, and so devoid of sense, that 
with many of a similar nature, not yet corrected, they 
have helped to wither a leaf of the laurel which Fame 
placed on the brow of our immortal Bard, who, unques- 
tionably, wrote : 

— 1 know, 'tis from Cordelia ; 

Who hath most fortunately been inform'd 
Of my obscured course; and shall find time, 
From this enormous state's sinking., to give 
Losses their remedies: — 

Thus, all obscurity is removed : the transcriber, who 
wrote as another person read to him, lost the s in the 
word — states, by the hissing sound of the s's in state's 
sinking; and, adding to the blunder, his unchaste ear 
caught seeking, instead of sinking. The sense of the 
passage is obvious. 

Cordelia's spies in England had apprized her of the 
growing rupture between the Dukes of Albany and 
Cornwall. See Act III. sc. i. where, a short time after 
Kent was liberated from the stocks, having read Cor- 
delia's letter, he meets one of Lear's gentlemen, and 
charges him with a commission to Cordelia, observing : 

" There is a division, 

Although as yet the face of it be cover' d 
With mutual cunning, 'twixt Albany and Cornwall ; 
Who have (as who have not, that their great stars 
Thron'd and set high ?) servants, who seem no less ; 
Which are to France the spies and speculations 
Intelligent of our state;'''' 

This accounts for the manner in which Cordelia 
obtained the intelligence of the state's sinking, and also 



KING Lft&A. 329 

gives us the purport of her letter to Kent; who. no 
doubt, was already Avell aware of the disunion between 
the two Dukes, and of which he expects Cordelia will 
avail herself, and send over forces to give losses their 
remedies; that is, — to restore the injured King and 
himself to their former rank and possessions. 

Respecting the word enormous, — Britain, under the 
prudent government of Lear, was a great state ; under 
the dominion of Albany and Cornwall, a — sinking stale. 



Scene IV. — page 429. 

Regan. I have hope, 

You less know how to value her desert, 
Than she to scant her duty. 

Regan means : You are more deficient in the know- 
ledge of her merits, than she is deficient in duty. 



Scene IV. — page 440. 

Lear. You heavens, give me that patience, patience I need ! 

The distracted state of Lear's mind prevents him from 
expressing himself as he intended : he would have said, 
You heavens, give me that which my calamities require — 
patience! but his impetuosity stops the words; and waving 
that solemnity of address with which he commenced, in 
a hurried voice, he testifies what he needs. The passage 
should read : 

You heavens, give me that, — patience, patience I need ! 

Recovering himself, he then resumes that solemn 
manner which a serious address requires; but, again 
overcome by grief, indignation, and passion, what he 
would express he cannot : 



330 KING LEAK. 

" No, you unnatural hags, 



I will have such revenges on you both, 

That all the world shall — I will do such things, — 

What they are, yet I know not;" 

According to my idea of the passage, the repetition 
of the word patience is unavoidable : the entire force of 
the verse depends on it. 



ACT III. 

Scene I. — page 445. 



Gestlemak. Strives in his little world of man to out-scorn 
The to-and-fro-conflicting wind and rain. 

Mr. Steevens is of opinion, that we should read, 
out-storm; but I believe the present text correct. — 
The conflicting elements scorn the benighted traveller; 
they disregard both his plaints and misery ! but Lear 
out-scorns all their vengeance; and, exposing his un- 
protected head to their impetuosity, bids defiance to 
their destructive powers. — See the commencement of 
this speech, where, in answer to Kent's demand, the 
Gentleman says, that Lear is, — 

" Contending with the fretful element, 
Bids the wind blow the earth into the sea, 
Or swell the curled waters 'bove the main," &c. 



Scene IV. — page A59. 

Lear. Thou think'st 'tis much, that this contentious storm 
Invades us to the skin : 

The quarto reads — crulentious, a word unknown ; and 
evidently a corruption from mistake of sound. The 
present text is from the folio. 

Though the word contentious is not devoid of meaning, 
yet, it may be demanded, — what doth the storm contend 
with? Whatever direction a storm takes, both hail, rain. 



KING LEAR. S3 1 

and show, must submit to it, and pursue the same course. 
The poor old King, in his present distracted state, might 
strive to " out-scorn the conflicting wind and rain" but 
to contend against the combined elements, he might as 
well strive to repel the waves of the sea. 

Convinced, by repeated proofs, that most of the 
corrupt passages in these plays owe their origin to the 
transcribers ; who, from ignorance and inattention, re- 
garded sound more than sense; I have examined the 
jumble of letters which form crulentious, and think that, 
in two words, which give almost precisely the same sound 
as crulentious, we obtain the original. I read : 

Thou think' st 'tis much, that this cruel y lentous storm 
Invades us to the skin: — 

As for the word cruel before storm, few adjectives can 
be found more applicable : a cruel storm, the same as a 
pitiless storm, is a phrase, I believe, made use of more 
than once by our Author ; and is as familiar at the 
present day, as to say, it is a cruel night, which is common, 
when the wind and rain compel us to seek shelter from 
their fury. The word lentous is equally well applied in 
the present passage ; for, by Lear's saying — The storm 
invades us to the skin, he tell us, he feels that viscosity, 
which wind and rain produce, by the adhesion of his 
apparel to his skin. 

The modern Editors, satisfied with the word conten- 
tious, have passed this corrupt passage over in silence. 
If critical judgment should admit, (as well as I am 
convinced,) that cruel lentous is the original reading, 
Shakspeare will be, in part, indebted to Mr. Seymour's 
observation : In his notes on Shakspeare, he says, — The 
old copy reads, crulentious : some corruption, from which 
it is now impossible to recover the Author's word. 

In Dr. Johnson's Dictionary, this passage is given as 
an example for the word contentious : but the text varies* 
it reads : 

*• Thou thinkest much that this contentious storm*" 



332 KING LEAR. 

Thus, we have thinkest for think 1 st; it will also be 
perceived that the word % Us is omitted. 

The proposed correction gives the verse a syllable 
more than we have in the present text ; but, by omitting 
'tis, which seems to have been capriciously introduced, 
we retain the due measure. 

Thou think'st much that this cruel lentous storm 
Invades us to the skin. 



ACT IV. 

Scene I. — page 509. 

Gi-osier. Let the superfluous, and lust-dieted man, 

That slaves your ordinance, that will not see 
Because he doth not feel, feel your power quickly; 
So distribution should undo excess, 
And each man have enough. — 

I can neither reconcile the word slaves, nor the forced 
elucidations it has caused. I believe our Author wrote : 

That staves your ordinance, 

This gives a clear meaning: — Let him who lives for 
his own sensuality, and who staves, i. e. breaks your 
ordinance, feel your power quickly. 

The transcriber forgot to cross the t, and the com- 
positor took it for an /: thus the word slaves! 



* Scene II. — page 516. 

Goneril. Fools do those villains pity, who are punish'd 
Ere they have done their mischief. 

Though Goneril displays a character which disgraces 
human nature, yet, I believe, Lear is not one of the 
objects on whom she bestows the epithet — villain. I 
rather imagine, she means the unhappy Gloster, and 
Regan's servant, who fell in the cause of humanity. 



KING LEAR. 333 

Goneril was the first who proposed to deprive Gloster 

of sight : and it is highly natural that her fears would 

be awakened at every spark of pity which the people 

displayed for the outrage committed on him. See 

Act IV. sc. v. where Regan, alluding to Gloster's misery. 

says, — 

" where he arrives, he moves 

All hearts against us •." , 



Scene II. — page 517. 

Albany. Thou chang'd and self -cover d thing, for shame, 
Be-monster not thy feature. 

I think self-converted affords a better meaning than 
the text. By self-converted, I understand, — one who, 
without the instigation of others, becomes a convert to 
either good or evil. Regan is as deep in iniquity as 
Goneril ; but is instigated or countenanced in wicked- 
ness by her husband; which, being well known to 
Albany, he thus exculpates himself from having any 
concern in their diabolical proceedings; thereby telling 
her, that all her evil actions spring from her own heart, 
and make her a convert to the nefarious operations of 
Satan. 



Scene III. — page 521. 

Gentleman. -You have seen 

Sun-shine and rain at once: her smiles and tears 
Were like a better day. 

The quartos read — a better way ; which I believe 
correct : the error appears to me to be in the word — 
like, which should read — linked. With this correction, 
we have a sublime idea. 

On a summer's day, when the sun sends forth its rays, 
a shower passing through them, falls upon the earth : 



334 KING LEAR. 

thus the rain and sun-shine are totally separated. But, 
in the present picture ; the tears which started from the 
eyes of Cordelia, as they chased each other, they fell not 
to the ground, her smiles caught them ; they link'd each 
with the other, like unto a chain of pearls ; and, falling 
on her bosom, adorned humanity: thus, — 



her smiles and tears 



Were linked a better way: 
i.e. Her tears were too precious to fall to the ground. 



Scene III.— page 524. 
Gentleman. As pearls from diamonds dropped. 
Before I read Mr. Steevens's proposed emendation, the 
same correction occurred to me. I believe our Author 
wrote : 

As pearls from diamonds dropping. 



Scene IV. — page 526. 
Kent. A sovereign shame so elbows him : 

How could my predecessors reconcile this reading? — * 
so elbows him ! This, contrasted with our Author's text, 
affords, I think, as ludicrous a corruption as can be met 
with in these plays ; but see what the change of a single 
letter effects ; and what sublimity is obtained in place of 
nonsense. Our Author wrote : 

A sovereign shame soul bows him : his own unkindness 
That stripp'd her from his benediction, turn'd her 
To foreign casualties, gave her dear rights 
To his dog-hearted daughters, — these things sting 
His mind so venemously, that burning shame 
Detains him from Cordelia. 

A sovereign shame so oppresses the soul of Lear-for 
his unnatural treatment of the virtuous Cordelia, that he 
cannot command sufficient resolution to behold her. 



KING TEAR. 335 

Any reader who thinks this phrase requires an example 
will find one almost verbatim in Psalm lvii. 

This error owes its origin to the person who read to 
the transcriber; he sounded the word soul (so-el), which 
coming before botes, the transcriber gave the present cor- 
rupt reading. 

The phrase soul-bows is farther strengthened by a 
passage in the Winter's Tale, Act V. sc. i, where 
Leontes says, — 

''therefore, no wife : one worse, 



And better us'd, would make her sainted spirit 
Again possess her corps; and, on this stage, 
OVhere we offended,) now appear, soul-vex' d," 1 

In this quotation I have given the passage as restored. 
See my notes, page 146. 



Scene VI. — page 537. 
Edgar. Gone, sir? farewell. 

After the preceding speech, the stage direction says, 
( He leaps and falls along.) In my opinion, Gloster 
should not attempt his leap until Edgar bids him farewell. 
Be it also remembered, that the smallest turn to either 
right or left, will change the direction which a blind 
person intends taking; Edgar, therefore, tells Gloster, 
that he is fronting the precipice; and that he should not 
vary to either right or left. We certainly should read : 
Go on, sir; farewell, — 

After this, (the stage direction,) Gloster leaps and falls 
along. The quartos and folio read : Gone, sir? farewell. 
The second folio, and modern Editors : Good, sir, S?c. 
Where the early editions vary, and that our modern 
Editors remain in doubt, we may be assured that the 
true reading has not been discovered. The transcriber 
mistook the sound ; and wrote Gone, Sir, instead of, Go 
on, Sir : 



336 KING LEAR. 



Scene II.— page 538. 

Edgar. Ten masts at each make not the altitude, 
Which thou hast perpendicularly fell ; 

There is nothing more common with compositors, 
than to omit the first word, where two, immediately 
connected, begin with the same letter : Such, I believe, 
has been the case in the present passage. — I am strongly 
of opinion that our Author wrote : 

Ten masts at end each make not the altitude, 
Which thou hast perpendicularly fell ; 

Thus, imagination forms the picture at once : one mast 
after another, to that altitude which ten masts produce. 



Scene VII. — page 566. 

Physician. the great rage, 

You see, is cur'd in him: [and yet it is danger 
To make him even o'er the time he has lost.] 

There is neither sense nor harmony in this line. — I am 
certain our Author wrote : 

the great rage, 



You see, is cur'd in him: [and yet it is danger 
To wake him even, o'er the time he has lost.] 

Meaning — That it would be attended with danger, even 
to awaken his remembrance to past scenes. 
As though we read : 

[and yet it is danger, 



Even to wake him o'er the time he has lost.] 

The m and w in manuscript are frequently mistaken 
the one for the other; by the context only, can the 
compositor, at times, form the true word. — But an m 
being in the w compartment, which is often the case, 
may have occasioned the present error. 



KING LEAR. 337 

ACT V. 

Scene I. — page 571. 

Goneril. For these domestic and particular broils 
Are not the question here. 

Surely a reading- infinitely preferable to the present 
can be obtained, by combining that of the quarto and 
folio. 

From the quarto : — 

For these domestic door particulars, 
From the folio : — 

Are not the question here. 

According to the present text, we must imagine an 
internal commotion in the kingdom, exclusive of the 
invasion. 

Domestic wars are, more particularly, of two deno- 
minations ; as contention for the crown, between the 
houses of York and Lancaster ; and rebellion, as in the 
time of Charles I. to overturn the monarchy. But, 
whatever were the private views of the houses of Albany 
and Cornwall, — Goneril wishes to have all domestic door 
particulars (their family quarrels,) suppressed, that, by 
uniting their forces, they may repel the invaders. 



Scene III. — page 580. 

Edmund. to be tender-minded 

Does not become as word: — 

For — a sword: — 

Such is the reading of the last edition of Johnson 
and Steevens. If, in the present state of printing, such 
errors creep in, what must have been the case, in 
Shakspeare's time, when the art was in a state of 
infancy! 



KING LEAR. 



Scene III. — page 593. 

Edgar. — This would have seem'd a period 

To such as love not sorrow ; but another, 

To amplify Joo-much, would make much more, 

And top extremity. 

Where Mr. Steevens says there is corruption, his 
opinion is seldom erroneous : two words are corrupt : 
we should read, as, I am bold enough to say, our 
Author wrote : 

■This would have seem'd a pyramid 



To such as love not sorrow; but another, 

To amplify truth much, would make much more, 

And top extremity. 

Meaning : This tender scene would have seemed as a 
pyramid of affliction to those whose sensibility could 
look on sorrow without being affected; but I, as a 
pristine cause, and an immediate sharer of that sorrow, 
cannot, as another, to amplify the truth, do justice to 
the afflicting scene : one less interested would make 
much more of it, and, in the relation, top extremity : i. e. 
would swell it to the utmost height of possible con- 
ception : or, all that was ever conceived of woe before, it 
would surpass. 

Thus, we are left to conceive what this tender and 
afflicting scene must have been ; when his relation, in 
comparison to that of a spectator, who would amplify 
the truth, is, but as a pyramid to the top of extremity. 

These two errors evidently originate with the tran- 
scriber, who, for pyramid, caught — period; and, for 
truth much, — foo-much : similarity of sound is obvious. 



Scene III.— page 600. 

Albany. ■ Fall, and cea§e! 

Mr. Malone doubts whether this speech be addressed 
to Lear: Mr. Steevens seems confident that it is. 



KING LEAR. 539 

When Mr. M. Mason furnished his highly-interesting- 
note on the two preceding speeches, it is to be regretted 
that he left the subject unfinished; for, in my opinion, 
Albany continues the awful picture ; and his words have 
no other relation but to the final dissolution of the 
world : 

Kent. Is this the promts' d end? 

Edgar. Or image of that horror ? 
Albany. Fall, and cease! 

Thus, it is obvious, that the highly-afflicting scene be- 
fore them strikes each with almost the same degree of 
horror. Kent, oppressed with age, as well as affliction, 
views the events that have recently occurred, and the 
tragic scene before him, as the promised end. Edgar, 
in the bloom of youth and manly spirit, considers it as 
the image of that horror: i. e. of the calamitous scene 
which must precede general dissolution ; and Albany 
marks his astonishment, by reflecting, as it were, on 
universal annihilation : — the fall of man, and cessation 
of the world. His words lead, in a great measure, to 
illustrate what Kent and Edgar have just said. 



Scene III. — page 603. 

Kent. If fortune brag of two she lov'd and hated, 
One of them we behold. 

My predecessors seem to have misunderstood this pas- 
sage. Kent means : Should fortune brag that she loved 
and hated two persons, one of them he beholds : but he 
thinks that she never loved and hated two persons, for, 
that Lear is the only instance ever known of such won* 
derful caprice. 



z - 



i&mtfet 



ACT I. 

Scene I. — page 17. 

Horatio. A little ere the mightiest Julius fell, 

The graves stood tenantless, and the sheeted dead 
Did squeak and gibber in the Roman streets. 

As, stars with trains of fire and dews of blood, 

I cannot correspond in opinion with the Commentators 
that our Author did not intend a union of this verse with 
the preceding; and, moreover, think the impediment 
easily removed that has occasioned this degrading 
breach. 

It is well authenticated, that a comet of great magni- 
tude appeared about the time of Julius Caesar's death. 
In our Author's Play of Julius Cesar, various prodi- 
gies are glanced at to prepare the mind for the tragic 
scene that takes place in the Capitol: see Act II. sc. ii. 
where Caesar says, — 

" There is one within, 



Besides the things that we have heard and teen, 

Recounts most horrid sights seen by the watch. 

A lioness hath whelped in the streets ; 

And graves have yawn'd and yielded up their dead : 

Fierce fiery warriors fight upon the clouds, 

In ranks, and squadrons, and right form of war, 

Which drizzled blood upon the Capitol: 

The noise of battle hurtled in the air, 

Horses do neigh, and dying men did groan; 

And ghosts did shriek, and squeal about the streets. ,, 

A comet is a blazing star, and distinguished from other 
stars by a long train, or tail of light, always opposite 



HAMLET. 341 

to the sun. " When the light is westward of the sun," 
according to Dr. Johnson, " the comet is said to be 
tailed, because the train follows it." The stars, then, 
with trains of fire, to which Horatio alludes, are no other 
than comets; and such prodigies must have been fami- 
liar to Shakspeare, for, in the year 1572, 1596, 1600, 
1602, 1604, and 1612, stars of this description appeared. 
But had the text been correct, this, which can afford 
but little information to the intelligent, were unneces- 
sary, as the plurality of stars, which the present text 
exhibits, is like the heat of the sun on burning embers, 
one fire puts out another ; so doth these stars, they ex- 
tinguish each other, and leave a passage obscure, which 
required but one star perfectly to illumine. 

Instead, then, of — As stars, I am bold enough to say, 
our Author wrote, A star. 

The transcriber, in the first instance, mistook the 
sound, by the s in star, which he gave to the article 
preceding the substantive ; for if the article be not 
sounded emphatically, before st, it will be found to 
sound — As star: and, as the singular substantive was 
nonsense without the article, he made it plural. Now, 
expunge the two s's, which have been erroneously in- 
serted, and judge whether Mr. Steevens be not mis- 
taken in saying, that an intermediate verse has been lost. 
I read, as I am convinced our Author wrote : 

A little ere the mightiest Julius fell, 
The graves stood tenantless, and the sheeted dead 
Did squeak and gibber in the Roman streets. 
A star with trains of fire and dews of blood ; 
Disasters in the sun; and the moist star, 
Upon whose influence Neptune's empire stands, 
Was sick almost to dooms-day with eclipse. 

Besides, see the distinction which our Author makes 
between the blazing star and the moist star; and also the 
appendage connected with the one, and the influence at- 
tached to the other : A sta r with trains of fire, and the 
moist star, upon whose influence Neptune's empire stands. 



342 HAMLET. 

In short, the prodigies that took place on the earth 
being described, these phenomena discovered in the 
firmament come in appropriate succession : that this, 
though called a star, was a comet, we have even the 
words of Calphurnia : 

" When beggars die, there are no comets seen; 
The heavens themselves blaze forth the death of princes." 



Scene I. — page 21, 



Horatio. Stop it, Marcellus. — 
Do, if it will not stand. 

Mr. Steevens observes, — u I am unwilling to suppose 
that Shakspeare could appropriate these absurd effu- 
sions to Horatio, who is a scholar, and has sufficiently 
proved his good understanding, by the propriety of his 
address to the phantom." These effusions Mr. Steevens 
would have transferred to Bernardo. 

In many parts of these plays there are what would 
be deemed incongruities, but that our Commentators 
have most judiciously explained, and pointed them out, 
to be, in our Author, Strokes of Nature. In the present 
instance — Stop it Marcellus, and afterwards the he- 
mistic, Do, if it will not stand, I consider entitled to 
the same marks of distinction : for, we are not to suppose, 
that Horatio, though he has addressed the Ghost with 
great propriety, is not alarmed : Behold his agitation 
when, on hearing the cock crow, the Ghost retires. 
Here he loses all that energetic language with which 
reason and reflection aided him, and he exclaims, Stay, 
and speak : but, however bold this may be, it proceeds 
from agitation ; and, anxious to obtain an answer, he 
cries to his companion, Stop it, Marcellus: here he 
partly forgets it is a phantom : he sees the form move ; 
and, with the undaunted courage of a soldier, Marcellus 
demands, — Shall I strike at it with my partizan ? To this 
agitated Nature replies, — Do, if it will not stand. But 



HAMLET. 343 

vain their words, — vain their courage: In the moment 
'tis before Bernardo, the next before Horatio: — At 
length Marcellus exclaims, ' Tis gone ! and then returning 
wisdom points out to both the absurdity of that courage, 
which, in a moment of forgetfulness, they imagined could 
obstruct the passage of a phantom, on which their vain 
blows would prove ynalicious mockery :— See hov? fear 
operated on Marcellus and Bernardo, in Horatio's 
account of the phantom to Hamlet : 

" thrice he walk'd, 



By their oppressed and fear-surprized eyes, 
Within his truncheon's length; whilst they, distilVd 
^Almost to jelly with the act of fear, 
Stand dumb, and speak not to him."' 

In my opinion, Nature could not dictate to man lan- 
guage more like her own. 



Scene II.— page 31. 
Hamlet. A little more than kin, and less than kind. 
Surely, Dr. Johnson's explanation of this passage 
must be correct. The word kind (German for child) is 
more appropriate than any sense we can obtain from 
the English word kind. If I mistake not, in Scotland, 
the same word is in use, and has a similar meaning. 
It should also be observed, that the King hears not 
this observation of Hamlet, but is supposed to continue 
his speech — u How is it that the clouds, still hang on 
you?" Here Hamlet answers him, and plays on the 
word sun, — " Not so, my lord, I am too much i'the sun." 
When the King calls him son, in his former speech, 
Hamlet answers, aside, I am less than kind fson). But 
now he lets him take what meaning he pleases out of 
his words : his. own being, I am too much of the son, in 
paying respect to a mother who disgraces Nature by 
sharing an incestuous bed. 



344 HAMLET. 



Scene II. — page 37. 

King. This gentle and unforc'd accord of Hamlet 
Sits smiling to my heart: 

Sits smiling, to give cheerfulness to his heart; and, 
by its lively image, to prevent the obtrusion of gloomy 
reflection. 



Scene II. — page 42. 
Hamlet. I am very glad to see you : good even, sir. 

This passage has been totally misunderstood : and that 
it should, I am not at all surprised ; for the punctuation 
would deceive the most minute critic. The word even, 
according to the acceptation it must receive in its present 
position, means, to make one parti/ out of debt with another , 
either in point of pecuniar?/ obligation or compliment: In 
the latter sense, Hamlet's familiar politeness induces him 
to use it : but false punctuation has perverted the sense of 
the passage, and made my predecessors, under the per- 
suasion that it alluded to the time of the day, attempt its 
illustration. I read : 

Marcellus. My good lord. 

Hamlet. I am very glad to see you good: — even, sir. 

Hamlet plays doubly on the word good; he is under- 
stood to mean — well in health, and pure in ?norals : and, 
at the same time, he tells Marcellus, that he is even with 
him in courtesy of expression. 

Sir Thomas Hanmer was so well convinced that the 
present reading was corrupt, he altered the text from 
"good even" to "good morning:" a change, which, if 
Hamlet's salutation was intended to distinguish the time 
of the day, would be perfectly just; for, on the deter- 
mination of Marcellus to advise Hamlet of the strange 
figure they had seen, he observes: 
And I this morning know 



Where we shall find him most convenient." 



HAML..T. 345 

Accordingly, Marcellus and his two companions pay 
Hamlet a morning visit. 

But, what transcriber or compositor could make so 
extraordinary a blunder? Is there either affinity of 
sound or resemblance of characters in even and morning? 
Had the corrupt reading been — good evening, a careless 
writer or compositor might, unguardedly, insert the one 
for the other; but the contraction displays that this 
could not have been the case; and that even was the 
Author's word. 

The familiar salutation — good evening, is generally 
Used when company separate towards night : but surely, 
when one or more gentlemen come to visit another, were 
the person so visited to say, on their entrance, — I am 
glad to see you : good evening : must it not be tantamount 
to telling his visitors he cannot remain longer in their 
company? or, in fact, — go about your business, I cannot 
attend to you ? 

But mark Horatio's guarded mode of expression, 
and which results from his observing how Hamlet has 
just played on the word good: he avoids saying " my 
good lord /' and, in reply to Hamlet's question, says, — 

"A truant disposition, good my lord. 1 " 

He understands Hamlet's meaning; and knows, that 
restraint and ceremonial distinction are unpleasant to 
him : of this he has also had a lesson. See the an- 
terior part of this scene : 

Horatio. " The same, my lord, and your poor servant ever." 
Hamlet. " Sir, my good friend; I'll change that name with 
you."' 

Thus, Hamlet's humility and courtesy would even 
change prince for servant with his friend. 

In respect to time, alluding to good even, Dr. John- 
son observes, "Between the first and eighth scene of this 
Act it is apparent, that a natural day must pass:" — this 
is but the second scene. 



346 HAMLET. 

Scene IV. — page 65. 
Hamlet. This heavy-headed revel, east and west. 

If heavy-headed revel , east and west, means from one 
end of the world to the other, why should the words — other 
nations be introduced ? Do not the words — " through' 
out the world" include all nations? In my opinion, 
Hamlet simply means the disgraceful appearance of a 
drunkard, who, when top-heavy, staggers from side to 
side; and which state he humorously terms, east and 
west. It is but another figure for that inebriety which 
Enobarbus, in Antony and Cleopatra, calls the 
reels. 



Scene IV. — page 68. 

Hamlet. — The dram of base 

Doth all the noble substance often doul v 
To his own scandal. 

The quarto, where, it seems, this passage is only 



found, reads 



•'The dram of eale 



Doth all the substance of a doubt" 

In an antecedent part of this speech, Hamlet observes, 
that " Some habit too much o'er-leavens the form ofplau- 
she manners :" meaning, that a small portion of leaven 
(vice) corrupts the whole man. The figure exhibited 
in this passage bears much the same meaning; but, in- 
stead of fermenting the noble substance by leaven, it is fo- 
mented by yeast, which is produced by the intestine mo- 
tion of ale, and which, when kneaded withjlour, changes 
the entire mass. I should think, then, that we have 
no necessity for so extraordinary a substitute as base 
for eale. I read : 

The dram of ale 

Doth all the noble substance over dough 
To his own scandal. 



HAMLi.T. 347 

The noble substance, (man,) the Poet compares to 
kneaded flour, or unleavened paste ; but, when the dram 
of yeast (ale) is added to it, the entire mass becomes fer- 
mented. So with man, one particle of vice leaves him 
no longer in a state of purity; for, though he may 
possess many virtuous qualities, that vicious particle 
corrupts or destroys the good effects they might other- 
wise have produced. 

The word eale, as in the quarto, is according to the 
orthography of Shakspeare's time : Of a doubt To, for 
over dough To, is evidently the error of the transcriber, 
who mistook the words, from their similarity of sound. 

In Cymbeline, Act III. sc. iv. we meet a passage 
something expressive of the same meaning: — - 

So then, Posthumus, 



Will lay the leaven on all proper men;"" 

Which Mr. Upton interprets : — " Will infest and 
corrupt their good name, (like sour dough that lea- 
veneth the whole mass,) and will render them sus- 
pected." 

That the present text is corrupt and unmeaning, must 
be obvious to every reflecting mind : I have endeavoured 
to give it some sense, but cannot speak with that perfect 
confidence which I do on most of my restorations : I at 
first thought we should read : 

Doth all the noble substance oft a-dough, 

which phrase, though now obsolete, might have been 
used in Shakspeare's time. That the word dough formed 
part of the passage, I am convinced, but I cannot work 
it up perfectly to my wishes. Mr. Dryden, speaking of 
the composition of man, says, — 

" When the gods moulded up the paste of man, 
Some of their dough was left upon their hands, 
For want of souls, and so they made Egyptians," 



348 HAMLET. 

Scene Y.—page 78. 

Ghost. Doom'd for a certain term to walk the night; 
And, for the day, confin'd to fast in fires, 

The observations of the Commentators on this pas- 
sage, particularly Mr. Mason's, are merely imaginary, 
and so far removed from probability, that any appear- 
ance upon which ideal truth may be founded, becomes 
necessary to retrieve the text. If, according to Mr. 
Mason's interpretation, that the spirit is doomed (feeling 
an appetite for eating) to fast in fires till its crimes are 
burnt and purged away, does not the text then imply, 
that the spirit will still be doomed to the torments of 
the fires, and its only mitigation, after a certain time of 
continued punishment, is, that it will receive food to 
appease its appetite? No other literal construction can 
be put upon the passage. 

Whatever idea we may entertain of the joys of 
Heaven, unremitting punishments await the wicked in 
hell; if but for a given period, to cleanse us from unre- 
pented sins, still there remains a prospect of happiness. 
But, though the Poet has brought a shade from thence 
to walk the night, must we not conclude its soul remains 
in torments ? Can we suppose that in hell there is either 
meat to appease hunger or drink to assuage thirst, that 
the Ghost should make the want of these necessaries for 
the support of life a matter of astonishment ? Besides, if 
it did, then must the Ghost deviate from the orders it had 
received : — 6i I am forbid to tell the secrets of my prison- 
house." In short, the Author never formed such absurd 
notions of the infernal regions. 

Hell is a place assigned by the Almighty for the 
Devil and those rebellious spirits who forfeited Heaven 
for their apostacy : before the world was, Hell was, 
and its fires unconsumable and unquenchable. They 
require not to he fed by any combustible, and upon this 
alone our Author founds his reading : 



HAMLET. 349 

Doom'd for a certain term to walk the night; 
And for the day, confin'd to fasting fires, 

Fires, as I have already observed, that are unconsuma- 
ble, and which require not to be fed by any combustible 
matter. 

The person who read to the transcriber not having 
laid any emphasis on the g, in fasting, its value wa» lost : 
and thus, fast in, for fasting. 



Scene V. — page 86. 
Ghost. 0, horrible! 0, horrible! most horrible! 

The lady who suggested to Dr. Johnson that this line 
belongs to Hamlet was unquestionably right. The 
exclamation is natural, and must have been waited for 
by the Ghost. Even the subsequent verse shows that 
the Ghost approves the horror, and, at the same time, 
the sympathy displayed by Hamlet at the unprepared 
state in which his father was sent to answer for his 
crimes. Nor does the impression become in any measure 
defaced, while awaiting a suitable opportunity to revenge 
his father's cause. See Act IV. sc. iii. where the King 
is at his prayers. The same horror strikes Hamlet's 
imagination, and he deems revenge incomplete, unless 
he can send him to the other world, unprepared, " With 
all his imperfections on his head" 



Scene V. — page 89. 

Hamlet. Now to my word; 

It is, Adieu, adieu ! remember me, 

Mr. Steevens says, Hamlet means, the military watch- 
word. 

Can we for a moment imagine, that the military watch- 
word for the night and the parting words of the Ghost 



350 HAMLET. 

are the same ? — Absurd! Besides, Hamlet has only the 
same ground to go over that he came, and his friends are 
awaiting his return with anxiety : nay, so y close are they, 
that Horatio is heard, immediately after Hamlet has 
written down the parting words of the Ghost, to call 
out — My lord! my lord! and he and Marcellus enter. 

Mr. Steevens is certainly in error : for Hamlet had 
no occasion for a watch-word. Now to my word, means, 
that he will fulfil the promise he made to the Ghost, 
whose parting words were — Adieu, adieu ! remember me. 
There, however, appears an error in the text: I am 
certain our Author wrote : 

Now to my word ; 



Its, — Adieu, adieu! remember me. 

Its words, the words of the Ghost. See the preceding 
part of this speech: — " Remember theef and the con- 
clusion — " / have sworn V." He has sworn to remember 
the words of the Ghost. See his oath previous to his 
seeking for his tables. 

Both pronouns should be emphatically sounded. — 
" Now to my word," (to keep his word) " Its, — Adieu, 
adieu! remember me," (the Ghost's words.) 



ACT II. 

Scene I. — page 99. 

Polonius. Marry, sir, here's my drift; 

And, I believe, it is a fetch of warrant: 
You laying these slight sullies on my son, 
As 'twere a thing a fittle soil'd i' the working, 
Mark you, 

Your party in converse, him you would sound, 
Having ever seen, in the prenominate crimes, 

Part of this speech seems very corrupt ; both words 
and punctuation conspire to make it nonsense. I shall 
not analyze it, but hasten to give it that reading which 
I am certain came from the Author : 



HAMLLT. 351 



Marry, sir, here's my drift; 



And, 1 believe, it is a fetch of warrant, 

You laying these slight sullies on my son, 

As 'twere a thing a little soil'd i' the working: 

Mark you your party in converse; him you would sound, 

Hearing ever: seem in the prenominate crimes, 

The youth you breathe of, guilty. 

Thus, the construction of the speech is perfectly clear : 
The words — Mark you, which should commence the 
verse, have been erroneously taken to mean, — Pay at- 
tention to what I say: whereas, they refer to the party 
with whom Reynaldo is to hold converse respecting 
Laertes ; and the person most inclined to give him in- 
formation, he must pay particular attention to : hearing 
ever, (not interrupting him) and seeming, both by looks 
and actions, and words when he can introduce them 
with propriety, to be one already initiated in those vices 
which may be attached to Laertes : by this policy, says 
Polonius, your party will be unguarded, and you will 
gain true information. 

Having ever for hearing ever, and seen for seem, pro- 
ceed from false transcription. 



Scene II. — page 129. 

Hamlet. The clown shall make those laugh, whose lungs are 
tickled o' the sere. 

For oUhe sere, we should read — a'the sere \ that is, at 
the fall of the leaf. This is considered the most critical 
period for those who are asthmatical: but, even now, 
the clown shall make those laugh to that degree, that 
they shall cough as though it were at the fall of the leaf. 



Scene II. — page 146. 

Hamlet. but it was (as I received it, and others, who*? 

judgments, in such matters, cried in the top cf 
mine) an excellent play. 

This simple passage can easily be explained : Hamlet, 
not only from his superior rank, but great natural abili- 



352 HAMLET. 

ties, was looked up to by others for his judgment upon 
the piece ; and as, according to his taste, he pronounced 
it an excellent play, they also deemed it excellent. 



ACT III. 



Scene I. — page 169. 
Hamlet. For who would bear the whips and scorns of time, 
Hamlet speaks generally, not particularly, and alludes 
to the calamities often attendant on longevity : The op- 
pressors wrongs the proud man's contumely ', the pangs of 
despised love, &c. &c. are the various whips and scorns 
that patient merit bears in its progress through life; 
and which, were it not for the dread of something after 
death, no person sensible of such calamities would suffer. 
The text is certainly correct. 



Scene II. — page 218. 
Hamlet. To withdraw with you. 
Before I paid attention to Mr. Mason's note, I was 
of opinion that these words should be addressed to the 
Players, first correcting the passage thus — So: withdraw 
with you. On receiving any article from an inferior, as 
Hamlet does the recorder from the Player, the word so im- 
plies very well, or that's well. But it should be observed 
that there is no stage direction for the exit of the Players; 
and Hamlet would scarcely suffer them to remain in his 
presence during the remainder of the scene : Farther, 
is it not evident that the Players are introduced merely 
to give Hamlet an opportunity of taking one of the re- 
corders. The passage should be regulated thus : 

O, the recorders : — let me see one. (He takes a recorder.) So : — 
withdraw with you. — (to the Players, who exit.) 

It is a playful or vulgar saying, Set off with you; so, 
withdraw with you, has the same meaning. 



HAMLET. 353 

Scene II. — page 218. 

Hamlet. Why do you go about to recover the wind of me, as 
if you would drive me into a toil ? 

Mr. Malone seems to have mistaken the sense of this 
passage ; the import of which I understand to mean, — 
Why do you go about, in such an underhand manner, to 
sift my thoughts, or lay stratagems to drive me into. a 
toil ? The idea is taken from a trap to catch wild beasts. 



Scene III. — page 227. 

King. Pray can I not, 

Though inclination be as sharp as will; 

The compositor, in my opinion, mistook a note of 
admiration for a t. I believe our Author wrote : 

Pray, can I? — JVo! 



Though inclination be as sharp as 'twill; 

The reading — 'twill for will, as recommended by Dr. 
Johnson, should certainly be adopted; for inclination 
and will are nearly synonymous terms. 



Scene IV. — page 235. 

Hamlet. As kill a king! 

Had the Queen been, in any manner, accessary to the 
King's death, the Ghost would scarcely express that 
tenderness for her safety which a subsequent part of 
this scene exhibits : 

" But, look! amazement on thy mother sits: 
O, step between her and her righting soul; 
Conceit in weakest bodies strongest works ; 
Speak to her, Hamlet." 

Had Shakspeare intended to attach greater culpa- 
bility to the Queen than her incestuous marriage, this 
anxiety for her peace would not haye been introduced ; 
but, as the art of the usurper overcame female imbecility. 

2 A 



S54 HAMLET. 

her crime is considered rather venial, and the Ghost's 
resentment for her misconduct becomes disarmed. 

There is also another passage in this scene which 
helps to confirm the Queen's innocence. The stings of 
conscience have seldom an intermission when they arise 
from murder ; but the passion of love, in a female breast, 
rarely admits scruples, whether the connection be of an 
incestuous nature or an act of adultery, so long as the 
object with whom she maintains a criminal intercourse 
pays that attention which first actuated her to violate 
propriety. Now, this being the case with the Queen, 
who, in the gratification of sensuality, has never looked 
into her soul to seek the blush of shame, her conscience 
remains without a sting: nor does she consider herself 
guilty, until roused by the hideous picture drawn by 
Hamlet of her incestuous intercourse; and then only 
does she feel the enormity of that offence, which in- 
duces her thus to testify her contrition, — 

"O Hamlet, speak no more: 
Thou turn'st mine eyes into my very soul ; 
And there I see such black and grained spots, 
As will not leave their tinct." 

See also Hamlet's speech after this, and the Queen's 
reply. But, indeed, the dumb show*, which precedes 
the interlude, is sufficient in itself to denote both the 
Author's intention and Hamlet's conviction of the 
Queen's innocence. 

It is, however, evident that the Queen had a criminal 
intercourse with the usurper before he murdered his 
brother. See Act I. sc. v. where the Ghost says, — "Ay, 
that incestuous — that adulterate beast:" and this know- 
ledge it is that fires the indignation of Hamlet and 
actuates him to use the cutting words — As kill a king! 
for, he considers that his mother, by her illicit con- 
nection, was the primary cause of his father's death, 
and that ambition to ascend the throne was an after con- 
sideration of the usurper. 



HAMLET. 355 



Scene IV. — page 246. 

Hamlet. Nay, but to live 

In the rank sweat of an enseamed bed; 

Great exertions have been used to establish the present 
reading; hog's lard and the inside fat of a goose have 
been presented to strengthen the figure. It is with 
great reluctance I introduce a word that may offend 
chastity ; but the speech throughout necessarily awaken- 
ing the grossest ideas, the eye of delicacy can scarcely 
be more shocked by reading, as I am certain the Author 
wrote : 

Nay, but to live 

In the rank sweat of an ensemerid bed ; 

Meaning : A bed stained with lust, and where, stezv'd 
in corruption, as Hamlet says, she makes love over the 
nasty sty. 



Scene IV. — page 252. 

Hamlet. That monster, custom, who all sense doth eat 
Of habit's devil, is angel yet in this. 

To the carelessness of the transcriber must be attri- 
buted two errors conspicuous in this passage; for ape he 
wrote eat, and for oft — of I correct thus : 

That monster, custom, who all sense doth ape, 
Oft habits devil, is angel yet in this. 

Meaning: However passion might influence you to 
sinful acts, let it not overcome you in this : Go not unto 
my uncle's bed: assume the appearance of virtue, if you 
have it not; for even that monster, custom, whose per- 
nicious habits all mankind ape, or imitate, and who often 
habits vice in the semblance of virtue, is angel yet in 
this : that is, however diabolical those practices may be 
which are sanctioned by custom, yet custom never sanc- 
tioned incestuous marriages. 

»A 2 



Sh6 HAMLET. 

Or, perhaps, better to read : 

That monster, custom, who all sense doth ape 
Of devils' habits, is angel yet in this. 

It, however, must be acknowledged that by the word 

ajje, which I am convinced was the Author's, and evil, 

as recommended by Dr. Thirlby, a very familiar sense 

is obtained: 

That monster, custom, who all sense doth ape, 
Of habits evil, is angel yet in this. 

That monster, custom, whose evil habits all mankind 
doth ape, is angel yet in this. 

I prefer this reading; but Dr. Johnson seems con- 
firmed in opinion that an opposition was meant between 
angel and devil, and, indeed, I think him correct; for, 
immediately after, showing how far vice is screened 
under the mask of virtue, Hamlet observes, — 

" That to the use of actions fair and good 
He likewise gives a frock or livery, 
That aptly is put on. v 



ACT IV. 

Scene II. — page 265. 



Hamlet. The body is with the king, but the king is not with 
the body. 

Hamlet plays on the word body; he means not the 
body of Polonius, but the collective body, the people: he 
therefore says, the body is with the king, because the 
king is the head of the people ; but the king is not with 
the body, because, being a usurper, he is afraid to trust 
himself among the people ; therefore, he is merely a thing, 
for he reigns not in the hearts of his subjects. 



Scene IV. — page 272. 
Fortinbras. We shall express our duty in his eye. 
r. e. In his presence. I should not have deemed an ex- 
planation of this passage necessary, but that the example 



HAMLET. 357 



from Antony and Cleopatra, as introduced by Mr. 
Steevens, is inadmissible here: " tended her Vthe eyes" 
alludes to the eyes connected with the rigging of a ship. 
See mv notes on Antony and Cleopatra. 



Scene IV.— page 273. 
Captain. To pay five ducats, five, I would not farm it ; 
I cannot see why jive should be repeated. In my 
opinion, the Captain, to show his utter contempt of the 
disputed patch of ground, says, — 

To pay five ducats; fly! I would not farm it; 
Meaning : that though it were given him, conditionally, 
that he should cultivate it, he would not accept it. 



Scene VII.—; page 309. 
Kisg. But that I know, love is begun by time. 

Mr. M. Mason gives the sense intended by the Author, 
but is not equally fortunate in the word he substitutes to 
obtain it. 

That the text, with the word begun, is nonsense, all 
must admit: I read: 

But that I know, love is benumb' d by time. 

In the sound o£ benumb'd and begun, there is so far a 
similarity, that a transcriber, not cautiously attentive, 
might make such a mistake. This word gives a pure sense ; 
the passage corrected means, — However fervent love 
may be, it abates by degrees, and, in the course of time, 
becomes, as it were, torpid: but, as some spark of love 
still remains, that spark time again qualifies, and the 
Jlame becomes as strong as ever. 

The idea is taken from the torpid state in which some 
animals remain ; but which, in due season, revive, and 
again enjoy the same strength and perfection. 



358 HAMLET. 

ACT V. 

Scene I. — page 336. 

Priest. We should profane the service of the dead 
To sing a requiem, 

The folio reads: — "To sing' sage requiem." 
We may be perfectly convinced that a requiem is not 
the original reading; the difference between the article 
a and the word sage being too great for any blunderer, 
either transcriber or compositor, to make. 

The /and g, in the letter case, are next each other, 
and frequently the one is found in the other's compart- 
ment. In my opinion, a g was in the f box, by which, in 
composing the word safe , the wrong letter made it sage. 
We should read : 

To sing safe requiem, &c. 

Meaning : that safe and immediate flight to the regions 
of bliss, which they sing for those who depart this life in 
perfect peace with the world, and in the joyful hope of 
salvation. The Author evidently aims at the illiberal 
principles of the Priest, who, if it were in his power, 
by merely chaunting what he terms safe requiem, would 
not do it, even to save that soul from suffering the tor- 
ments of purgatory. 



Scene I. — page 338. 
Hamlet, Wouft drink up Esil? eat a crocodile? 

However ingenious Mr. Malone's strictures on this 
passage, I am convinced that Hamlet means impossibili- 
ties, and that the inference he designs is, that he would 
die for Ophelia. 

When we take into consideration the shock which 
Hamlet receives on beholding the mutilated obsequies 
of her he loved, and sees her remains consigned to the 



HAMLET, 359 

silent tomb, no act, however wild, or expression, how- 
ever wanton, should be analyzed to extract reason : as 
unreasonable, then, is it for us to suppose, that millions 
of acres could be heaped on him and Laertes, as that he 
could drink up a river or eat a crocodile ! That Hamlet 
challenges Laertes to acts of impossibility, his own words 
evunce, — if " thou prate of mountains, let them throw mil- 
lions of acres on us:" and afterwards, — u naj/, an thou'lt 
mouthy T 11 rant as well as thou." From this, nothing but 
mad, ranting declamation is expected; nor can we sup- 
pose that a far-fetched word would be rooted from his 
imagination to imply vinegar, and of which a small quan- 
tity must sicken him; or, that a piece of a crocodile 
would be so disgusting as to render the eating of it im- 
possible. Convinced, then, that Hamlet, to meet the 
rant of Laertes, means impossibilities, I have attempted 
to defend the opinion of Mr. Steevens, but with the 
reading (Esil) which he retains, I cannot concur. 

Sir T. Hanmer reads- — Nile. I certainly think I 
should have proposed the same word, and upon these 
grounds: Nile was formerly spelt Nisle, which the 
person who read to the transcriber sounded Nis-le, — 
or, if the dot was not over the ?, taking it for an 
e y — Neesle ; and the emphasis being stronger on the e 
than the w, the transcriber wrote Esil y or Esile, both 
having the same sound: Or, if a capital E fell into the 
N box, which is nearly under it, the compositor thus 
made Eisle, which being deemed erroneous, as I should 
imagine we have no such word, the corrector transposed 
the s, and made it Esile, as in the folio. Let it also be 
considered that the crocodile is peculiar to the river Nile, 
which proves that the Poet's fancy was confined to 
one source for both figures : for why should he trans- 
port imagination to a distant region for drink, when he 
had it at the same place that produced his dish offish ? 
Again, that chiming sound for which our Author displays 
a strong partiality, is strikingly conspicuous in the words 



360 HAMLET. 

Nile and crocodile. I am, therefore, confident Shak- 
speare wrote : 

Woult drink up Nile? eat a crocodile? 



Scene II. — page 350. 

Hamlet. As peace should still her wheaten garland wear, 
And stand a comma 'tween their amities ; 

Though this passage, by the ingenuity of Dr. Johnson, 

is considered correct, yet a note of admiration, if a point 

was to determine the matter, would have been more 

apposite; for never was comma so misplaced as in the 

present instance. I hesitate not to say, that our Author 

wrote : 

As love between them like the palm might flourish; 
As peace should still her wheaten garland wear, 
And stand a column 'tween their amities ; 

What figure can be more expressive of a good un- 
derstanding between two monarchs? Peace, with her 
wheaten garland, denoting plenty, was to be the grand 
column to perpetuate that friendship they had sworn to 
maintain. 

The top of the /, in the word column, not being suf- 
ficiently clear, and being immediately followed by um, 
made lum appear as mm, and the terminating n, which, 
in the writings of former times, nearly resembled an a, 
was taken by the compositor for that character. 



Scene II. — page 353. 

Hamlet. For by the image of my cause, 1 see 

The portraiture of his: Fll count his favours: 

That this passage, in its present state, is corrupt, I 
have not the smallest doubt : and that the elucidations 
are forced, and the word court for count absurd, I 
shall strive to prove. 

The origin of Hamlet's grief was the loss of his 
father: that of Laertes arose from a similar cause. — 



HAMLET. 361 

Hamlet wishes to revenge his father's death : Laertes 
enters into a diabolical plot to effect a similar revenge. 
Thus, as Hamlet cannot forgive him who killed his 
father, he, in the image of his own cause, sees the por- 
traiture of the other's; and concludes, that he cannot 
expect forgiveness from Laertes, How, then, can we, 
for a moment, suppose that Hamlet would count upon 
favours from Laertes? or, as Mr. Malone very justly 
observes, — K What favours has Hamlet received from 
Laertes, that he was to make account of? And can 
it be imagined that the dignified Hamlet would stoop 
to court the favours of a man whose father he has so 
recently slain ? Impossible ! ' ' — 

I am convinced that, by expunging a colon and an 
apostrophe, we obtain the original. I read: 

For by the image of ray cause, I see 

The portraiture of his: I'll count his fervour: 

Hamlet denotes sorrow for having suffered his passion 
to get the better of him when he met Laertes at the 
interment of Ophelia. In testifying his love, Hamlet 
gave the first cause of offence; but Laertes, in the 
fervour of his passion, gave the first insult. Hamlet, 
therefore, on reflection, perceiving that Laertes had a 
justifiable reason for displaying his resentment, is willing 
to attribute it to heat of passion, notwithstanding that 
Laertes, in the bravery of his grief insulted him, who. 
as a prince, was his superior. 

The word favour for fervour might be easily mistaken 
in sound by the transcriber, or by similarity of charac- 
ters by the compositor. This latter, I think the original 
reading. 



- Scene II. — page 357. 

Horatio. Is"t not possible to understand in another tongue? 
you will dot, sir, realty. 



362 HAMLET. 

The punctuation recommended by Mr. Steevens should 
be adopted : sense cannot be extracted out of the passage 
in its present state. The word really is erroneous. We 
should read: 

Is"t not possible to understand ? In another tongue you will do 
it, sir, readily. 

The speech is evidently addressed to Osric, who, 
foiled by Hamlet in affected phraseology, is recommended 
by Horatio to translate the words into another tongue, 
by which he ironically tells Osric, that he will readily 
understand Hamlet's meaning. 



Scene II.— page 361. 

Osric. The king, sir, hath laid, that in a dozen passes between 
yourself and him, he shall not exceed you three hits; 
he hath laid on twelve for nine. 

There is but one mode of explaining this enigmatical 
wager, and which our Author, in one of his waggish 
moments, seems to have designed as a puzzle, by making 
Osric change his affected phraseology for that of the 
Clown, who, in the first scene of this Act, in answer to 
Hamlet's question, says, — u he will last you some eight 
year, or nine year: a tanner will last you nine year." 
To perfectly understand my meaning, expunge the pro- 
noun you , in which the quibble lies, and the sense is 
obvious: — The King, sir, hath lay^d, that in a dozen 
passes between yourself and him, he shall not exceed three 
hits. 

Now the wager is this: — There are to be a dozen 
passes: the King lays, that Laertes shall not, in the 
dozen, exceed three hits: the other nine, Hamlet's skill 
shall either parry, or he shall hit Laertes : thus, the odds 
is materially against the King; for if Laertes gains four 
hits, the King loses, though Hamlet proves the better 
swordsman. He hath laid on twelve for nine, is but a 



HAMLET. 363 

repetition of the principle on which the wager is founded, 
and was, I suppose, a phrase sufficiently familiar, in 
Shakspeare's time, to all fencers : its simple meaning is — 
that, on twelve passes, Laertes shall miss nine: thus, 
should he gain but three hits, the King must win the 
wager. 



Scene II. — page 378. 

Hamlet. Which have solicited — 

This hemistic, hitherto so corrupt as to preclude the 
possibility of guessing Hamlet's meaning, proves what 
slight dependence should be placed on words not suscep- 
tible of other than forced elucidation. In the present 
instance, Dr. Warburton defines solicited, to mean — 
brought on the event! and Mr. Malone explains it — which 
have incited me to! Thus, because solicited is an English 
word, it must be the Author's, and a forced or tortured 
explication given of it, to gain a desired construction of 
the passage. 

Hamlet wishes Fortinbras to be made acquainted 
with all the events that have led to this fatal catastrophe, 
and with which Horatio only is acquainted. Self-justi- 
fication he anxiously wishes, but death makes such rapid 
approaches, he finds this impossible. On Horatio, then, 
he depends : to his friendship he commits his innocence, 
and which he expects will be proved by an exposition 
of the treachery so successfully practised against him, 
and which cuts him off in his early prime of life : thus, 
anxious to leave an unblemished reputation, and to live 
in the memory of Fortinbras, he says, — 
he has ray dying voice; 



So tell him, with the occurrents, more or less, 
Which have so limited. 

He would have said, my earthly career, or, the number 

of my years ; but unable, he concludes, The rest is silence. 



364 HAMLET. 

The ingenuity of the Poet could not produce any two 
words more expressive of meaning, so as to convey an 
idea of what his arrested breath would have uttered. 

The words so limited and solicited can be said but to 
vary in one letter, a c for an m: and which error, no 
doubt, arose from a c being in the m compartment ; for 
that of the m is immediately under the c : thus, the word 
appearing in the proof so licited, the corrector conceived 
it to be a broken word, and marked the so and licited to 
be joined. 



Scene II. — page 382. 
Fortinbras. This quarry cries on havock! 

Fortinbras, ignorant of the true cause that exposes 
to his view the tragic scene, thinks treason has been 
practised, and that it is his duty to punish the traitors. 
In my opinion, we should read : 

This quarry cries, — On havock I 
i. e. This princely blood cries out for vengeance : as the 
havock is begun, so must it be continued against the 
traitors. 

In Julius Cesar, Act III. sc. i. we meet the same 

phrase, and similarly applied : 

" And Caesar's spirit, ranging for revenge, 
With Ate by his side, come hot from hell, 
Shall in these confines, with a monarch's voice, 
Crv havock /" 



©gmMtttt* 



ACT I. 

Scene I. — page 403. 

Gentleman. You do not meet a man, Imt frowns: our bloods 
No more obey the heavens, than our courtiers; 
Still seem, as does the kings. 

This passage may, indeed, be considered difficult ; and 
the Critic who can extract a meaning from it, in its pre- 
sent state, may boast peculiar penetration. Several 
attempts have been made to purge it of its corruption, 
but I believe blood must be taken away at last. Dr. 
Warburton reads brows. — Before I saw this emenda- 
tion, I was decidedly of opinion that such was the origi- 
nal reading: nay, the word frowns, which precedes it, 
puts it beyond dispute. But this is not the only corrupt 
word in the passage : the punctuation is also erroneous. 
I read; 

You do not meet a man but frowns: our brows 
No more obey the heavens: then our courtiers' 
Still seem as does the king's. 

To use Dr. Warburton's words, — " It is the outward 
not the inward change that is here talked of, as appears 
from the word seem." There is a double ellipsis in the 
passage: See how familiar the present emendation 
makes it : 



our brows 



No more obey the heavens : — then our courtiers' (brows) 
Still seem as does the king's (brows.) 



366 ' HAMLET. 

The first Gentleman says, — " You cannot meet a man 
but frowns:" in frowning-, we contract and distort the 
brows: and, by so doing, we disobey the ordinance of 
heaven: and why the Gentleman makes the assertion 
Uiat " our brows no more obey the heavens," he has 
from Sacred Writ ; for Solomon's wisdom being of di- 
vine inspiration, his Proverbs become tantamount to a 
heavenly command : and, no doubt, Shakspeare had the 
Proverb in view, which says, — 

" Let thine eyes look right on, and let thine eyelids look straight 
before:" 

Those who frown cannot do this; therefore, their 
brows obey not the heavens. 

The King, as we subsequently learn, on finding that 
Imogen is married to Posthumus, is irritated to the 
highest degree: a constant frown displays his anger; 
and his courtiers, in order to testify their approbation of 
the severe sentence of banishment, as passed on Post- 
humus, assume the same looks of severity: they frown, 
to make their brows correspond with the dark looks of 
the King; though the entire of them would rather 
denote satisfaction. See a subsequent speech from the 
same Gentleman : 



But not a courtier 



Although they wear their faces to the bent 
Of the king's looks, hath a heart that is not 
Glad at the thing they scowl at." 

They are glad that Imogen, by marrying Posthumus, 
has escaped the proposed union with Cloten. 

The comparative particle than seems to have been 
introduced in order to remove part of the obscurity : 
bat, by placing a colon after the word heavens, the period 
is complete : and, by substituting then for than, and ex- 
punging the points, the subsequent part becomes also a 
period. — Courtiers and King's find their relative in the 
word brows. 



HAMLET. 367 



Scene II. — page 415. 

Cymbeline. disloyal thing, 

That should'st repair my youth; thou heapest 
A years age on me ! 

Cymbeline seems so very limited, that his grief pro- 
mises to be speedily overcome : but I am of opinion 
with Sir T. Hanmer, that the influence of grief was 
designed by our Author to heap many a year's age on 
him. The correction is easily made. I read : 

thou heapest, — 



Ay, — years' 1 age on me ! 
The y in Ay was lost in sound by the next word 



beginning with the same letter. 



Scene V. — page 428. 

Iachimo. for taking a beggar without more quality. 

The folio reads : 

" without less quality." 

The grammatical inaccuracies, so conspicuous in many 
of these plays, are, in my opinion, in most instances, 
falsely attributed to Shakspeare. A writer of his dis- 
tinguished merit could not fail of knowing the difference 
between more and less, and their respective applications : 
it might as well be said of him, that, in the application of 
black and white, he would have been equally entangled. 
On the present passage, several examples are given 
by Mr. Malone to prove his deficiency in grammati- 
cal knowledge: But while Mr. Malone condemns, he 
considers not how far the writings of the Poet have 
suffered by ignorant transcribers and compositors : and, 
as Mr. Steevens most judiciously observes, that, " On 
this occasion, and several others, we can only tell what 
Heminge and Condell printed, instead of knowing, with 



368 HAMLET. 

any degree of certainty, what Shakspeare wrote," so 
may we very naturally suppose, that passages not fami- 
liar to their comprehension became perverted through 
their want of penetration. 

On the three examples given by Mr. Malone to justify 
his opinion, he seems to have reckoned without his host : 
That from the The Winter's Tale is corrupt. It 
reads : 

I ne'er heard yet 



That any of these bolder vices wanted 
Less impudence, to gainsay what they did, 
Than to perform it first. 1 ' 

Now I am bold enough to say, our Author wrote 



I ne'er heard yet 



That any of these bolder vices scanted 
Less impudence," &c. 

Meaning: I never heard yet that any of these bolder 
vices was less deficient in impudence to contradict what 
it did, than it was in the performance of any act, how- 
ever nefarious. 

On examination, it will be found, that in the MS. 
the sc before a has much the appearance of a w : hence 
the error. 

It is also somewhat curious, that, in the passage from 
King Lear, given on the same occasion by Mr. Malone, 
we find the radix of the same word : 

" I have hope 



You less know how to value her deserts 
Than she to scant her duty." 

The sense of which is sufficiently clear : — I believe 
you are more deficient in the knowledge of her worth 
than she is deficient in her duty. 

Thus, if fair play be given our Author, I am con- 
vinced neither his judgment nor grammatical knowledge 
would be so frequently the theme of animadversion. As 
for the present passage, and which has introduced this 
defence of our Author, it is also shamefully corrupt, 



CYMBELINE. 369 

and that from the transcriber mistaking the sound of the 
word. Our Author, unquestionably, wrote: 

Ay, and the approbation of those, that weep this lamentable 
divorce, under her colours, are wonderfully to extend him; be 
it but to fortify her judgment, which else an easy battery might 
lay flat, for taking a beggar with doughtiless quality. 

Be it remembered, that the old copy reads " without 
less:" here it is evident the transcriber lost the sound of 
the d, in doughtiless : in the word doughty, the gh is never 
sounded. Thus, the sense is clear. 

Doughty, formerly spelt doughtie, means, — illustrious : 
consequently, a beggar with a doughtiless quality, must 
mean, one as deficient in noble lineage as he is in fortune. 



Scene V. — page 431. 
Posthumus. though I profess myself her adorer, not her friend. 

Mr. Steevens is partly correct in his definition of the 
word friend: bonne amie certainly means, a paramour: 
though, at the same time, the phrase is commonly used 
in France as a term of endearment, by husband and wife : 
amie (friend) also means lover. 

Posthumus considers the title of lover too cold a 
phrase, and therefore professes himself her adorer. 



Scene V. — page 432. 

Iachimo. If she went before others I have seen, as that diamond 
of yours out-lustres many I have beheld, I could 
not but believe she excelled many : but I have not 
seen the most precious diamond that is, nor you the 
lady. 

The old copy reads : 

" I could not believe she excelled many :" 

Various emendations have been proposed to render 
the argument of Iachimo more conclusive. The pre- 
sent reading is taken from Mr. Malone's edition, who 



370 CYMBELINE. 

has given a note of nearly three pages to justify the cor- 
rection. Had the careless compositor followed his copy, 
it would have saved the learned Editor much labour. 
Our Author wrote : 

If she went before others I have seen, as that diamond of yours 
out-lustres many I have beheld, I could not belie she excelled 
many: 

Meaning: If she excelled beauties that I have seen, as 
much as your diamond out-lustres many that have at- 
tracted my admiration, it would be slander in me to say 
that she did not excel many. 

The compositor forgot his word, when Jje composed 
belie, and added xe to it — thus, believe. 



Scene V. — page 435. 

Iachimo. You are a friend, and therein the wiser. 

Neither Dr. Warburton's correction nor Dr. John- 
son's explanation have correspondent force to illustrate 
this corrupt passage. Dr. Warburton reads, — You are 
afraid: but Posthumus is not afraid, for he has just 
offered to stake ten thousand ducats on Imogen's chas- 
tity. We should read : 

You are affianced, and therein the wiser. 

Iachimo is aware that the lady to whom Posthumus 
alludes is his wife ; and as he has said, that the ring is a 
part of his finger, so his wife being apart of himself, 
the artful Italian tells him, that he is affianced, and 
therein the wiser, to retain both his wife and his ring. 

The word affianced, was not sufficiently legible in the 
manuscript, and being a word not in common use, the 
compositor made out, a friend. 

Had any doubts remained on my mind respecting the 
legitimacy of affianced, the Italian, in the seventh scene 
of this Act, would have removed them: — It is where 
he solicits pardon of Imogen :— 



CYMBELiNE. 371 

Give me your pardon. 



I have spoke this, to know if your affiance 
Were deeply rooted." 



Scene VII.— page 444. 

Imogen. Blessed be those, 

How mean soe'er, that have their honest wills, 
Which seasons comfort. 

Epicurean nicety cannot but relish the high seasoning 
given to this passage by the Commentators ; but neither 
the reasons of the one nor the seasons of the other an- 
swer the humbler appetites. Our Author's words are 
shamefully perverted in this play : — I read, — 

Blessed be those, 



How mean soe'er, that have their honest wills, 
Which seize on comfort. 

i. e. Blessed are those who, in a humble sphere of life, 
meet no opposing power to frustrate their honest incli- 
nations; but, being out of the reach of tyranny, seize on 
comfort: i. e. gratify their wishes, when reason, inclina- 
tion, and circumstances invite them. 

Seasons, and seize on, with the exception of the ter- 
minating s, are the same in sound, unless the latter be 
emphatically pronounced. 



Scene VII. — page 448. 

Iachimo. And the twinn'd stones 

Upon the number d beach ? 

Many emendations have been proposed to obtain some 

sense out of this strange passage ; all of which have been 

rejected. I offer mine, under a persuasion that the 

Author's reading will be restored : 

And the twinrfd stones 

Upon the member d beach ? 

2 B3 



372 CYMBELINE. 

The beach, being- washed by the tide, becomes the 
member of procreation : hence, the member ] d beach that 
produces the iwinri'd stones. On the production and 
ever-increasing growth of stones let the learned philo- 
sopher display his genius. 

The words, numbei'dsmd member 'd, in MS. can scarcely 
be distinguished one from the other : and if the e be not 
minutely formed, they are so exactly alike, that by con- 
text only can the distinction be ascertained. 



Scene VII. — page 451. 

Iachimo. ■ 'Beseech you, sir, desire 

My man's abode where I did leave him : he 
Is strange and peevish. 

This is a hint for Pisanio to quit the chamber. As 
for the servant of Iachimo, as he never appears, we 
know nothing of his disposition. But where did 
Iachimo leave him ? Probably, in the portico of the 
palace, surrounded by a set of inquisitive servants ; and 
he, not being acquainted with the language of the 
country, his master concludes that his peevish disposition 
will display itself. In so disagreeable a predicament, is it 
not natural that Iachimo would order his servant to be 
placed in a more retired situation, where, free from im- 
pertinent curiosity, he might be at his ease? A slight 
change in the punctuation yields the desired effect : 

'Beseech you, sir, desire 



My man's abode : — Where I did leave him, he 
Is strange and peevish. 

In a subsequent part of this scene, Iachimo again 
uses the word strange, and, in its application, it can bear 
no other construction than stranger: he says, — 

" And I am something curious, being strange, 
To have them in safe stowage," &c. 



CYMBEMNE. 373 



ACT II. 



Scene V. — page 497. 

Me of ray lawful pleasure she restrain'd, 
And pray'd me, oft, forbearance: did it with 
A pudency so rosy, the sweet view on't 
Might well have warm'd old Saturn ; 

Our Author wrote: 

And pray'd my oft forbearance; difd it with 
A pudency so rosy, &c. 

Thus restored, the glowing- picture of modesty requires 
no illustration. The transcriber's unchaste ear mistook 
the words: me and my, did and dj/'d, are nearly the 
same, both in sound and characters. 



ACT III. 

Scene II. — page 510. 

Imogen. Justice, and your father's wrath, should he take me in 
his dominion, could not be so cruel to me, as you, 
the dearest of creatures, would not even renew 
me with your eyes. 

To give some sense to this passage, Mr. Malone has 
added the word not. However, I think the original 
obtainable with less violence. I read : 

as you, the dearest of creatures, would ever renew 



me with your eyes. 

Meaning: That however cruel the King might act 
towards him, yet the sight of her would ever renovate 
him. 

Imogen seems to have suppressed a former part of 
the letter. The explication given by Mr. Malone 
seems extremely forced, even though his correction 
were admitted. 



374 CYMBEL1NE. 

Scene III. — page 516. 

Belarius. 0, this life 

Is nobler, than attending for a cheek ; 

The entire of this speech is a lash at the court and 
courtiers. The meaning to be extracted from this passage 
is, that the life they lead is nobler than that of a 
courtier, who, to gain the King's favour, attends his 
steps, and watches his countenance to obtain a gracious 
smile, or a turn of the cheek towards him. Our Author 
undoubtedly wrote : 

O, this life 

Is nobler than attending for a cheek ; 



Scene III. — page 516. 
Belarius. Richer, than doing nothing for a babe; 

This corrupt passage Dr. Warburton has corrected, 
by reading bauble ; and which he explains, — Vain titles of 
honour, gained by an idle attendance at court. But, 
surely, a title of honour cannot be considered a bauble ? 
" A babe" says Mr. Malone, " and baby are synonymous : 
and a baby being a puppet, or play-thing, for children, 
the present reading must mean apuppet." But, admitting 
this, I cannot see what affinity a puppet has with the 
passage. 

A court sycophant is considered by Belarius as a 
useless character, and one who does nothing for that 
prolongation of life bestowed on him by Providence. 
Now, the mark of maturity in man, is his beard, and 
that of longevity is also in his beard, by its becoming 
grey. I am, therefore, inclined to think that we should 
read : 

Richer, than doing nothing for a barb; 

Barb, if I mistake not, was formerly spelt barbe. This 
corresponds with the antecedent verse, as corrected; and 



CYMBELINE. 375 

its object seems designedly to impress on the minds of 
Guiderius and Arviragus the necessity of that adoration 
which they owe Omnipotence, who has protected them 
from their birth to the state of manhood to which they 
have arrived. Our Author uses the word elsewhere. 



Scene IV.— page 526. 

Imogen. Some jay of Italy, 

Whose mother was her painting, hath betray'd him : 

I have read the elucidations on this passage with more 
surprise than pleasure ; and they prove, as in many other 
instances, how far judgment may be led astray, by forcing 
a meaning contrary to common sense. The passage is 
shamefully corrupt; and I am convinced that, by the 
following corrections, the Author's original is restored : 

Some jay of Italy, 

Who smoother was; her painting hath betray'd him: 

Some artful Italian lady, wanton in her principles, 
and who possessed a more flattering tongue, has, by the 
blandishments of praise, and painting of her passion, 
betrayed him to her embraces. 

The transcriber mistook the sound of the words— 
Who smoother was, and Whose mother was, being closely 
alike. With the exception of an o for an e, the letters 
are the same. 

Painting may also be taken in its literal sense : height- 
ening her charms by artificial colouring. 



Scexe IV. — page 532. 

No court, no father; nor no more ado 
With that harsh, noble, simple, nothing; 
That Cloten, &c. 



376 . CYMBELINE. 

Harsh must mean austere, or rough. Why then give 
a contrary quality immediately after ? Noble is illus- 
trious, or all that is brave and generous; for we cannot, 
in the present state of the passage, receive the word 
noble to mean a nobleman, as harsh, noble, simple, nothing, 
are used as adjectives. A word is wanting to perfect 
the measure, and which, from misconception of the 
passage, has been omitted. I am convinced our Author 
wrote .* 

No court, no father; nor no more ado 
With that harsh noble, that simple nothing: 
That Cloten, whose lore-suit hath been to me 
As fearful as a siege. 

Mr. Malone observes — " Some epithet has been 
omitted ; for which, having but one copy, it is now vain 
to seek." I flatter myself the difficulty is overcome. 



Scene V. — page 536. 

Imogen. Thou art all the comfort 

The gods will diet me with. 

Pisanio has just informed Imogen that he is rich, and 
that he will not fail to supply her wants : how, then, 
can the word diet, according to Mr. Steevens's interpre- 
tation, allude to a spare regimen t The passage is not 
only corrupt, but the verse goes on crutches. I am 
certain the transcriber mistook the word, and that our 
Author wrote : 

Thou art all the comfort 

The gods will dight me with. Pry'thee, away : 

Dight, to furnish, deck, adorn, dress, &c. No two 
words sound more alike than diet and dight. This word 
is doubly applicable ; for, though Imogen expresses her 
thanks for the aid with which the gods furnish her, yet 
is Pisanio made the instrument of that aid; and who, 



CYMBELIXE. 



perceiving how necessary it is for her to lay aside the 
female dress, and assume the appearance of a man, has 
furnished her with the requisite habiliments. 



Scene V. — page 539. 

Queex. Son, I say, follow the king. ' 

The defect in the metre may be overcome by reading': 
My son, I say, follow the king. 

For this reading we have the Queen's own words in 
her subsequent speech, — "How now, my son? 1 ' 



Scene VI. — page 551. 

Imogen. — Would it had been so, that they 

Had been my father's sons ! then had my prize 
Been less; and so more equal ballasting 
To thee, Posthumus, 

Though the meaning is understood, I believe the text 
corrupt. Imogen, as heiress of the King, is a weight in 
the national scales that much more than equipoises any 
subject ; but had the King not lost his sons, then must her 
weight, comparatively, have been of little importance; 
and Posthumus would have approached nearer to a 
counterpoise. Is it not evident, then, that Shakspeare 
wrote : 

then had my poize 



Been less ; and so more equal ballasting 
To thee, Posthumus. 

Thus, all obscurity is removed by substituting an o 
for an r. 



378 CYMBELINE. 

ACT IV. 

Scene II. — page 565. 

Belarius. he had not apprehension 

Of roaring terrors; 

This seems a strange phrase : for roaring, I believe 
we should read : robing terrors : Meaning : That he had 
no apprehension of viewing terrors in their proper dress ; 
or of judging consequences from appearances. 

The tenor of this speech seems to prepare us for the 
fatal effects of ill-timed passion. Cloten, in attacking 
Guiderius, was blind to the consequences likely to result 
from his intemperate rashness. See the subsequent note. 



Scene II. — page 565. 

Belarius. for the effect of judgment 

Is oft the cause of fear: 

There has been a vast deal of sound judgment used to 

substantiate correction, and explain this passage; the 

result of which is, that, for defect of judgment, as in the 

old copy, — effect of judgment, has been substituted. In 

my opinion, a more trivial alteration gives the original 

reading : 

Being scarce made up, 
1 mean, to man, he had not apprehension 
Of robing terrors; for defect of judgment 
Is oftha cause of fear: 

Which means: That defect of judgment arises from 
the same cause as fear : i. e. from a weak understanding. 
Thus, from defect of judgment, Cloten could not discern 
where danger lay ; for, when actuated by the violence 
of his passions, he laboured under no apprehension of 
terror, though the same fears awakened his cowardice ; 
and, where courage would have been a virtue, he had 
none to display. 

The t, in the next word, was mistaken in sound by 
the transcriber. 



CYMBELINE. 379 

ACT V. 

Scene I. — page 598. 

Postiiumis. You some permit 

To second ills with ills, each elder worse; 
And make them dread it to the doer's thrift. 

I am of opinion, that the person who read to the tran- 
scriber gave an unlucky yawn over this passage; and, if 
the Reader has a mind to try the experiment by yawning 
at the words ill the, he will find they will closely produce 
either, or elder, as in the text. The context shows that 
our Author must have written : 

To second ills with ills, each ill the worse ; 
And make them dread it to the doer's thrift. 

Thus, dread it, as in the next verse, finds a relative in 
ill. The meaning is obvious : Each crime is more atro- 
cious than the former; at length, one of a most heinous 
nature awakens the mind to self-conviction, and the 
penitent supplicates heaven's mercy for that, and all 
former offences : thus, the last offence turns to the doer's 
thrift; he lives in the blessed hope that, by repentance, 
he will obtain salvation. 

Mr. M. Mason understood this passage in the same 
sense, though the correction escaped his customary 
penetration. 



Scene IV". — page 610. 

Posthumus. to satisfy, 

If of my freedom 'tis the main part, take 
No stricter render of me, than my all. 

Mr* Malone suspects that a line has been lost; I am 
of a different opinion. However, though the passage is 
very corrupt, he has nearly given the Author's meaning. 
I read: 



>80 CYMBEL1NE. 

to satisfy 



I forfeit freedom; 'tis the main part, take 
No stricter render of me, than my all. 

Posthumus considering himself as the destroyer of 
Imogen, and, labouring under the pangs of a guilty con- 
science, thinks the sacrifice of his own life the only 
atonement that can appease the offended laws of heaven. 
He opposes himself to the enemy ; he courts danger, and 
seeks death; but refrains from self-immolation. Defeated 
in his purpose, he has surrendered himself as a Roman, 
thinking that Cymbeline will decree that punishment on 
him which in vain he sought in battle. All that his 
principles permit him to do, he has done: u to satisfy" 
says he, u I forfeit freedom, 'tis the main part," i. e. It is 
the first step towards death, " demand not of me a stricter 
render," meaning his life; for, as life was given him 
by Omnipotence, that sacred Power only has a right to 
take it, or to make another the instrument of taking it: 
his morals teaching him, that were he to commit suicide, 
punishment would be awarded him for that offence, not- 
withstanding he sacrificed himself to atone for a former 
transgression. 

The copy was not sufficiently legible : If of compose 
part of the characters necessary for I forfeit, and of which 
the compositor made the best he could : my was inserted 
to make out soine sense, though nonsense proved the 
result of deliberation. 



Scene IV. — page 612. 
{Solemn Musiclc.) 

The verses introduced in this piece of pageantry are 
so very ridiculous, that all readers must concur in opinion 
with Mr. Pope and other Commentators, that they are 
the production of some playwright: but, though we spurn 
them, we cannot disregard the vision, which, from con- 



CYMBELINE. S81 

necting circumstances, must have been introduced by 
Shakspeare; as also the descent of Jupiter, and part of 
the verses addressed to the shades of Posthumus' kin- 
dred ; for otherwise, no time is allowed for Posthumus 
to repose, nor means given to introduce the tablet, which 
is designed to inspire him with hope, and which, at his 
request, the Roman Soothsayer interprets. 

The entire of the stage direction (with the exception 
of the musical apparitions) I believe genuine. Solemn 
music may be heard ; then the Ghosts enter, and form a 
a circle round Posthumus, whose fate they lament: — 
Jupiter descends. _ 

The stage direction, after Jupiter descends, seems an 
interpolation to give countenance to the four first lines 
of Jupiter's speech, and which appear also an interpo- 
lation: Jupiter should commence at — 

Poor shadows of Elysium, hence and rest 
Upon your never-withering banks of flowers : 

and so on to the end : Then the Ghosts place the tablet, 
as directed by Jupiter, and vanish. 

What strengthens my opinion that this part must have 
been Shakspeare's is, that the speech of Posthumus. 
when he produces the tablet, could not otherwise be 
introduced. See the fifth scene of this Act, when the 
Soothsayer interprets the writing. 



Scene IV. — page 615. 

JrpiTEK. Whom best I love, I cross; to make my gift, 
The more delay'd, delighted. 

The word delay'd seems transposed. Should we not 

read : 

Whom best I love, I cross ; to make my gift 
Delay'd, the more delighted. 

Meaning: the more delighted in. 



382 CYMBELINE. 

Scene V. — page 643. 
Cymbeline. And your three motives to the battle, 
Mr. M. Mason's elucidation seems rather forced ; and 
the extract from Romeo and Juliet void of that affinity 
which should impress confidence. Three motives, cer- 
tainly mean three distinct motives, as truly as " both 
our remedies" means the remedy of us both. But it 
appears to me, that the transcriber was the more readily 
deceived in the sound of the true word, because three 
persons were concerned in the question. I am convinced 
our Author wrote : 

And your free motives to the battle, 

L e. Your motives for volunteering in my cause, or for 
coming, unsolicited, to fight against the enemy. In 
answering this question, Belarius will have an oppor- 
tunity of displaying the heroic principles of Guiderius 
and Arviragus. 



Scene V. — page 647. 
Cymbeline. My peace we will begin: 

Dr. Johnson would read — By peace, &c. but which 
would change the designed construction of the passage. 
Cymbeline means ? that, though the victor, he will make 
his peace with Caesar, by paying the customary tribute: 
and this lie does in order to establish a perfect peace ; for, 
should he continue to resist the demands made on him 
by the Roman empire, though now the conqueror, yet 
he might expect that Caesar would not be satisfied until 
he retrieved his military fame. Besides, it was not in 
the power of Cymbeline to say — By peace , when Lucius 
was not authorized to sign a treaty on other terms than 
by Cymbeline's submission. 



srtwou of mim*. 



ACT I. 



Scexe I. — page 7. 

Merchant. lie passes, 

I am strongly inclined to think our Author wrote : — 
He surpasses! Thus corrected, the sense and metre 
are both perfect. 



Scene I. — page 10. 

Poet. Admirable: How this grace 

Speaks his own standing! 

Mr. Steevens says, the passage u speaks its own mean- 
ing; " but Dr. Johnson differs widely from this opinion : 
he reads — 

How this standing 

Speaks his own graces. 

And indulges conjecture farther, by reading: 



How this grace 



Speaks understanding ! 

I, however, am convinced that the passage speaks 
not the Author's meaning, nor is it adapted to common 
understanding. I read : 

How this grace 



Speaks ! 'tis one standing ! What a mental power 
This eye shoots forth ! 

Thus, Nature is so perfectly copied, that the Poet, 
rapt in astonishment, views the painting as a human 



384 TIMON OF ATHENS. 

being standing in a most graceful attitude; while the 
eye speaks the operations of the mind. 

It is evident, from the want of the note of admira- 
tion after the word speaks, that the transcriber mistook 
the sound of the two following words, and for, His one 
wrote his own. 



Scene I. — page 14. 

Poet. yea, from the glass-fac'd flatterer 

A smooth, polished hypocrite : the same as we now 
say — A smooth-faced villain. 



Scene I. — page 27. 
Apemantus. That I had no angry wit to be a lord. 

Mr. Steevens observes, this passage is irremediably 
corrupted: and Dr. Johnson, that he has tried to correct 
it, but can do nothing. Indeed, from the absurdity of 
the text, these opinions might be hazarded with great 
propriety: however, I flatter myself that this supposed 
impossibility will be overcome, and that by merely 
adding three letters, which will produce not only the 
Author's word, but also the meaning which the cynic 
wishes to convey. I am certain Shakspeare wrote : 
That I had known angry wit to be a lord. 

The wn in the word known, preceding an in that of 
angry, was lost in the nasal sound ; know, being sounded 
as no: thus the transcriber caught the sound — know 
nangry, and wrote no angry. The sense is obvious: 
Apemantus, not satisfied with hating all mankind, wishes 
for cause to hate himself also; and, as he cannot picture 
to himself any character that would render him so per- 
fectly contemptible in his own opinion as that of being a 
lord, he says, — Heavens, that I were a lord! 



TIMON OF ATHENS. 385 

Timox. What would'st do then, Apemantus? 

Apem. Even as Apemantus does now, hate a lord with my 

heart. 

Timon. What, thyself ? 

Apem. Ay. 

Timon. Wherefore! 

Apem, That I had known angry wit to be a lord. 

Meaning- : That he had known himself to be a lord. 



ACT II. 

Scene I. — page 54. 

Senator. If I would sell my horse, and buy twenty moFe 
Better than he, why, give my horse to Timon, 
Ask nothing, give it him ; it foals me, straight, 
And able horses. 

The word straight, in its present place, means — imme- 
diately. The players not understanding it in this sense, 
changed the subsequent word. I am certain we should 
read: 

• it foals me straight, 

Ay, able horses. 

Though his horse may be an indifferent one, yet, if he 
giyes it to Timon and makes no demand for it, the present 
he immediately receives in return, is equal to twenty, — 
"ay, able horses." 



Scene II. — page 70. 

Flavius. I have retifd me to a wasteful cock, 
And set mine eyes at flow. 

This passage, I am convinced, is corrupt ; the explica- 
tions given of it are frigid : and even the idea of keeping 
Timon's prodigality in remembrance, though pretty, is 
profuse, it being but too strongly impressed already. 

Until recently, the st, in printing, formed one type, 
thus— Jl: its compartment lay next that of the k; and 

2 c 



386 TIMON OF ATHENS. 

these letters, from various causes, frequently found a 
way into each other's box. What should read wakeful, 
has been, by this means, made wasteful; and thereby 
perverted the Author's intention. I am confident the 
original read : 

when every room 



Hath blaz'd with lights, and bray'd with minstrelsy, 
I have retir'd me to a wakeful cock, 
And set mine eyes at flow. 

Wakeful, — vigilant. He means: — When our house 
has been filled with riotous company, and every room 
brayed with minstrelsy, I have retired me to our outer 
court, and, letting my sorrows flow, have listened to the 
shrill clarion of the wakeful cock, which announced to 
the industrious that it was time to quit the couch of 
repose and commence their labours. 

This affords a striking contrast. — At the hour when 
Timon's servants should be rising to industry, they had 
not yet retired to repose : — riot and confusion prevailed 
in every apartment of the house, and one continued 
scene of dissipation deprived them of that salutary ease 
which the temperate and industrious ever enjoy. 

The honest steward, fatigued with minstrelsy, retired ; 
and, while the wakeful cock testified its joy at the early 
morn, broke out in lamentations at his master's unceas- 
ing prodigality. 



ACT III. 

Scene I. — page 80. 

Flaminius. This slave 

Unto his honour, has my lord's meat in him: 

Flaminius, incensed at the ingratitude of Lucullus, 
invokes the gods to strip him of that wealth, or rather 
honour, which wealth has gained him. The word Unto 
is corrupt. We should read : 



TIMON OF ATHENS. 387 

you gods % 

I feel my master's passion ! This slave, 
Undo his honour, has my lord's meat in him: 

As though Flaminius said — This slave, O, undo his 
honour! he has my lord's meat in him. The maledic- 
tions in this speech, are abruptly broken off by observa- 
tions on the perfidy of Lucullus, and again and again 
renewed as passion operates. 

In scene ii. of this Act, when Servilius applies to 
Lucullus on the part of his master, Lucullus, in his 
apology, says, — 

" Undo a £reat deal of honour." 



Scene II. — page 85. 

Lucius. how unluckily it happen'd, that I should 

purchase the day before for a little part, and 
undo a great deal of honour ? — 

This very difficult — indeed, incomprehensible passage, 
owes its present corrupt state to the transposition of a 
word. We should read : 



how unluckily it happen'd, that I should purchase the 

day before, and for a little part, undo a great deal of honour ? 

Thus, the value of the antithesis is made evident. — 
The little part or portion of honour that he derived from 
the purchase has undone a great deal of honour, by 
preventing him from proving his honourable principles 
to Timon. 



Scene II.— page 89. 

First Stranger. I would have put my wealth into donation, 

And the best half should have return'd to him, 

I think Mr. Steevens's first interpretation the true 
one. The passage, however, is corrupt. I read, as I 
am certain the Author wrote : 

I would have but my wealth in donation, 
And the best half should have return'd to him, 

2 C 2 ' 



388 TIMON OF ATHENS. 

Meaning : That had Timon applied to him for succour, 
he would have considered his wealth as originally the 
gift of Timon ; and therefore holding it but in donation, 
the best half should have been returned to him. 



Scene III. — page 91. 

Sempronius. — —His friends, like physicians, 

Thrive ', give him over; 

In the antecedent speech of Sempronius, he observes 
that Timon should have applied for aid to Lucius, or 
Lucullus, or even to Ventidius, which three persons 
owe their estates to the liberality of Timon. On finding, 
by the Servant's answer, that solicitations had been made 
to these persons, but without effect, he considers Timon's 
case most desperate, and that these three false friends, 
having severally, like three physicians, given him over, 
the present application is made to him, as it were, to 
effect the cure of his complaint. I am strongly of opi- 
nion that our Author wrote : 



His friends, like physicians, 



Thrice give him over : 

I find Dr. Johnson proposed the same emendation; 
and, indeed, am rather surprised the Editors did not 
accept it. The c and v in MS. if not duly formed, have 
a strong resemblance to each other. 



Scene IV. — page 99. 

1 Varro's Servant. Your master's confidence was above mine; 
Else, surely, his had equall'd. 

We are to suppose that Varro's Servant, doubtful of 
the amount he has to demand from Timon, resorts to 
the account ; and finding it to correspond with what he 
imagined, says,- — 

" Yes, mine's three thousand crowns: what's yours?" 



TIMON OF ATHENS. 389 

To this, the other replies, — " Five thousand" This 
amount far exceeding' that which Timon owes Varro, 
the Servant of Varro concludes that Lucius had a greater 
degree of confidence in Timon than his master, — " Else," 
as he says, " surely, this account had equalled yours" At 
the same time he holds the account in his hand: A t 
certainly dropped out of the page in its metal state. 
We should read : 

Else, surely this had equall'd. 

Thus, the sense is perfectly clear. This passage 
requires stage direction. 



Scene V. — page 107. 

Algibiades. And with such sober and unnoted passion 
He did behave his anger, 

I think the conjunction has been introduced from mis- 
take of sound, and that the Author wrote : 

And with such sober undenoted passion 

Meaning : However aggravating the circumstance, he 
conducted himself with such moderation, as not to denote 
the smallest degree of passion. 

The word behave, in the sequent verse, is still more 
corrupt. The old copy reads — He did behoove, &c. The 
present reading was introduced by Mr. Rowe. I am 
confident we should read : 

And with such sober undenoted passion 
He did behood his anger, ere 'twas spent, 
As if he had but prov'd an argument. 

Thus, his words and actions were so well regulated, 
that however aggravating the charges laid against him, 
yet, he covered, or concealed all anger. 



390 TIMON OF ATHENS. 



Scene VI.— page 114. 

Alcibiades. I'll cheer up 

My discontented troops, and lay for hearts. 
'Tis honour with most lands to be at odds; 

I shall be silent on the forced elucidations given of 
this passage, being convinced that, in its present corrupt 
state, my predecessors made the most they could of it. 
I do not hesitate to say our Author wrote : 
I'll cheer up 



My discontented troops, and say, — Forth hearts ! 
"'TIS honour, with most bands, to beat at odds-, 
Soldiers should brook as little wrongs as gods. 

Alcibiades means not to cheer up his troops to war 

against any other land or state ; but merely to oppose 

the power of the Senate of Athens, whose ill-treatment of 

the military has occasioned discontent ; and which, he 

conceives, must influence their ready compliance with 

his wishes. Thus, screening from the soldiers his private 

quarrel with the Senators, and pretending that his aim 

is to obtain redress of the grievances under which they 

labour, he says, — thus will I stimulate my discontented 

troops : 

Forth hearts ! 

'77s honour for most bands to beat at odds; 
Soldiers should brook as little wrongs as gods. 

As though he said — Forward, my lads! Those 
grievances which have caused your discontent, shall be 
redressed: soldiers are not tamely to submit to oppression: 
and, though the influence of the Senate may levy a 
stronger power to oppose you, yet remember, — 'Tis 
honour with most bands to beat at odds, i. e. for an in- 
ferior to beat a superior power. 

In respect to the word bands for lands. A weaker 
band, i. e. an inferior band in point of number, that 
overcomes a stronger, gains the greater degree of honour. 
In this restoration I am highly justified, even by the 
very words of Alcibiades, who, when he accosts Timon 



TIMON OF ATHENS. 391 

in the woods, thinking that gold would be the means of 
restoring him to society, says, — 

" I have but little gold of late, brave Timon, 
The want whereof doth daily make revolt 
In my penurious band:" 

See Act IV. sc. iii. 

To be at odds, means quarrelling; and, surely, it 
cannot be deemed an honour for any land or people 
to be quarrelling with their neighbours. 

If a corrupt word remains in the passage, after these 
four restorations, it is in the word most; for, in my 
opinion, honour is attached to any inferior band that 
beats a greater. 

Common discrimination will perceive that both the 
transcriber and compositor are accountable for the gross 
errors so conspicuous in this passage. The word lay, for 
say, is the compositor's: — for hearts, instead of forth 
hearts, the transcriber's, who lost the th in forth, by the 
strong aspiration in the word hearts: to be at odds, for 
to beat at odds, is easily accounted for ; the compositor, 
having composed the first at, omitted the repetition; — 
this latter error is so common, that argument is unneces- 
sary to strengthen my observation. 



Scene VI. — page 116. 

First Lord. Upon that were my thoughts tiring, 
Dr. Johnson's idea of a hawk tiring, when she amuses 
herself with pecking a pheasant's wing, is rather a 
ludicrous conceit : but, in my opinion, neither hawk nor 
pheasant entered our Author's imagination when he 
wrote the passage. In short, an s was lost by the pre- 
ceding word terminating with the same letter. We 
should read : 

Upon that were my thoughts stirring. 
This phrase being familiar, elucidation is unnecessary. 



392 TIMON OF ATHENS. 

ACT IV. 

Scene II.— page 127. 

Flavius. Undone by goodness! Strange, unusual blood, 

When man's worst sin is, he does too much good ! 

Dr. Johnson says, he knows not what to propose to 
redeem this corrupt passage ; particularly as the word 
blood stands fortified by the rhyme. However, a very 
simple correction gives the original. I read: 

Undone by goodness! strange, unusual! — 'sblood! 
When man's worst sin is, he does too much good ! 

The honest Flavius thinks it strange that his master 
should be undone by goodness ; and his passion rising in 
proportion as he reflects on man's ingratitude, he uses 
the exclamation — 'sblood! Thus, we obtain a perfect 
sense, and the rhyme is preserved. 



Scene III. — page 130. 

Timon. It is the pasture lards the brother's sides, 
The want that makes him lean. 

As I cannot otherwise than correspond in opinion 
with Dr. Johnson, that our Author holds in view the 
case of the rich and poor brothers, with greater con- 
fidence I offer my emendation of this very corrupt, and, 
consequently, obscure passage. 

Timon, disgusted with his own species, considers that 
neither sympathy for the sufferings of our fellow-crea- 
tures, nor even sentiments of fraternal love exist in 
man : To illustrate this theorem, which casts so dark a 
shade on humanity, he introduces a case,which, in point of 
connexion, is the most immediate in nature — that of two 
brothers twinned in the same womb. " Touch them," says 
he, " with several fortunes," let the one be exalted to 
wealth and dignity, and the other be deprest by poverty ', 



TIMON 0* ATHENS. 393 

even though the fortunate brother, whose procreation, 
residence, and birth, scarce is dividant with him, who rots 
in obscurity, yet will he steel his heart against the calls 
of Nature, and suffer him to languish a prey to misery 
and wretchedness : Thus, the influence of wealth gives 
such self-sufficiency to man, that, if a brother's wants 
claim a brother's assistance, he who is impoverished is 
spurned with contempt, and the sacred link of obliga- 
tion is dissolved. 

Considering this principle as unchangeably inherent 
in man, Timon takes another view of worldly depravity: 
He beholds the beggar elevated to a high pitch of great- 
ness, and the rich man, who had been a senator, sunk to 
a low abyss of misery. Now, in this change of fortune, 
such is the world, in Timon's eye, that he beholds him 
who had been great held in the utmost contempt; even 
in that contempt attached to mendicity, as though he had 
ever been a beggar: whilst the beggar, elevated by 
wealth, regards himself, and is regarded by others, as 
though he derived his dignity from a noble ancestry, 
and had lived in splendor all his life : here then is the 
object on which Timon has fixed his attention. Nature 
is to man, in a certain degree, equally bountiful, but in 
the present example of the twinned brothers, she has 
made them scarce dividant, that is, they are so strongly 
assimilated, that they should be inseparable ; yet, how- 
ever, being touched with several fortunes, the influence 
of Nature is lost, and the pampered man will not deign 
to know him whom poverty has made his prey. 

When so extraordinary a change of fortune takes 
place, as in the case to which Timon alludes, it is nothing 
novel to behold the proverb illustrated,— Every one 
basteth the fat hog, while the lean one burneth: and such 
a proverb Timon assuredly holds in view. With the 
addition of one letter, and by changing another, we 
gain a similar figure, and retain most closely the sound 
of pastour, as in the original edition. I read : — • 



394 TIMON OF ATHENS. 

Raise me this beegar, and denude that lordj 
The senator shall bear contempt hereditary, 
The beggar native honour : 
It is the paste o'erlards the brother'* sides, 
The want that makes him lean. 

Thus all the words correspond : The paste o'erlards 
that which is already lard, the brother's sides. 

Wealth is the primary cause that leads the poor 
brother to honour; and according as wealth increases, 
so doth honours; until, heaped on him to excess, he 
becomes like the fat hog that every one basteth. 

Honour may be considered the noun to which It refers: 
and, as the want of honour is consequently the want of 
wealth, poverty remains lean within, nor can it obtain that 
which could o'erlard it without. 

If a fat hog be enveloped in a paste composed of flour 
and lard, it is unnecessarily over larded: and so with 
man, when wealth and honour become unnecessarily 
abundant. 



Scene III.— page 134. 

Timon. ■ Roots, you clear heavens! 

For clear heavens! I believe we should read — dear 
heavens ! The d in MS. if not well formed, has much 
the appearance of cl. The word dear removes all 
obscurity. In a subsequent part of this scene, when 
supplicating for a root, Timon again says, — 
— 0, a root, — Dear thanks ! 



Scene III. — page 135. 

Timon. this is it, 

Before I read Mr. Steevens's note on this passage, 
I was of opinion that the verse should be perfected by 
the repetition of the pronoun this, which the compositor 
omitted. 



TIMON OB ATHENS. 395 

Scene III. — page 149. 
Timon. And be no turncoats. 

Timon has desired the prostitutes to persevere in vice, 
and, that whoever seeks to convert them, they should allure 
and burn up: Consequently, he directs that no water 
shall be allowed to quench the flame, but, that their close 
Jires shall predominate, and utterly consume those whom 
they allure. Assuredly, then, our Author wrote: 

And be no turncocks. 

Meaning: that they shall not open the water-pipes. 
The word, in its present place, being ambiguous, and 
rather indecorous, I submit it to the reader's penetra- 
tion, for it is difficult to be explicit, and at the same 
time perfectly chaste. 



Scene III. — page 149. 

Timon. ■ Yet may your pains, six months, 

Be quite contrary. 

The word contrary, is certainly correct ; and all ob- 
scurity removed by the amendment in the preceding part 
of the speech, that is, by reading turncocks, instead of 
turncoats. But another error appears; for pains, six- 
months, we should read : 

■ Yet may your pain-sick months, 



Be quite contrary. 

Alluding to the necessary period, when fallen virtue, 
if distempered, should be in "the tub-fast and the diet:" 
when the influence of mercury would salivate. Timon 
has just ordered them not to be turncocks; that is, not 
to turn any water-cock to supply those with water whom 
he wishes to be burned up; but to themselves, during 
their pain-sick months, he wishes the contrary ; k e. that 
water may flow from their mouths, as from a fountain. 



396 TIMON OF ATHENS. 

Moreover, as in most baths there is a pipe to convey 
hot water, that the temperature of heat may be main- 
tained, so must that pipe have a cock affixed to it. Ac- 
cordingly, then, as the water cools, it frequently becomes 
the business of the person in the bath to turn the cock ; 
thus, by being their own turncocks, they would be con- 
trary to what he wishes them to be to others. 

It is very obvious that the transcriber mistook the 
sound of the words, and, for pain-sick, wrote pains, six. 
Timon would scarcely allot a limited period : for, if two 
months in the tub, the unfortunate victim might be in 
it again a month after, and so on, from one period to 
another. 



ACT IV. 

Scene III.— page 173. 



Timon. Your greatest want is, you want much of meat. 

This passage is certainly corrupt : that expression cor- 
respondent with the great ideas of Shakspeare is not dis- 
played. The great want that Timon means, I am certain, 
is humanity; and it appears to me that the word used by 
the Author had a more forcible meaning than meat, and 
also a double signification. I therefore coincide with 
Sir T. Hanmer's opinion, and read : 

Your greatest want is, you want much of men. 

Meaning : that though they were men in semblance, 
they were beasts in principle, being destitute of humanity. 
Again, as thieves, they wanted much of men, that is, all 
they could obtain by plunder. 

The playing on the word men is truly Shakspeare's 
style. Timon returns almost the words of the thief, who 
has just said, u men that want much :" to this he replies, 
"you want much of men:" and in the subsequent speech 
he says, " you must eat men" 



TIMON OF ATHENS. 397 

Scene III.-— -page 182. 

Timon. It almost turns 

My dangerous nature wild. 

The word wild, which has afforded some controversy, 
I think perfectly correct : the passage, however, is evi- 
dently corrupt; for, as Dr. Warburton justly observes, 
" by dangerous nature, is meant wildness" 

There is nothing dangerous in Timon's manners : grief 
at the ingratitude of mankind has brought him to his 
present unhappy state : neither is there any thing wild 
in his actions, save that, to shun the city wherein his false 
friends reside, he sequesters himself in the woods ; and 
rather than be obliged to man for food, he seeks that 
which Nature spontaneously yields him. I am, therefore, 
certain the word has been mistaken, and that we should 
read: 

- It almost turns 

My dolorous nature wild. 

Meaning : That it almost turns his melancholy nature 
to madness. Inattention on the part of either tran- 
scriber or compositor might have occasioned the error. 
Shakspeare uses the word elsewhere : 

" You take me in too dolorous a sense: 
I spake t'you for your comfort." 



ACT V. 



Scene I. — page 188. 

Painter. When the day serves, before dark-corner" d night. 

Various corrections have been proposed by my prede- 
cessors to free this passage from obscurity, but all appear 
too dark to admit a brilliant metaphor. I believe the 
Poet wrote : 

When the day serves, before dark-horned night; 



398 TIMON OF ATHENS. 

Which alludes to the horns or crescent of the moon. 

The word horn, preceded by ck, has the sound of corn, 
unless the h be strongly aspirated : thus the transcriber's 
ear deceived him. 



Scene I.— page 192. 
Timon. You that way, and you this, but two in company: — 
Though the meaning of this passage cannot be mis- 
taken, yet the text is corrupt. We should read : 
You that way, and you this, both two in company : — 

Thus restored, Timon's former observation elucidates 
the passage: 

" There's ne'er a one of you hut trusts a knave, 
That mightily deceives you." 

Both two in company : an apparently honest man and 
a rogue. 



Scene I. — page 193. 
Timon. You have done work for me, there's payment: 

For the insertion of the word done, Mr. Malone says 
he is answerable. Mr. Steevens would read, — " You've 
worked for me, there is your payment : Hence ! Now, in 
my opinion, neither of the learned Commentators under- 
stood Timon's meaning ; for, had they, the text would 
have been suffered to remain as they found it. 

That the Poet and Painter did work for Timon, we are 
well aware; and, that they received payment, Timon's 
liberality is a convincing proof; therefore, he has no 
necessity to pay them a second time. But let it be re- 
membered, that Timon had overheard the conversation 
of these sycophants, and particularly noticed the Poet's 
words, who said, — / am thinking what I shall say I have 
provided for him: meaning, what work; and this is the 



TIMON OF ATHENS. 399 

supposed work to which Timon alludes, and for which 
he pays him as his knavery merits. But Timon plays 
also on the words — "you have work for me:" for in 
beating the Painter and the Poet, he finds work, and 
this they occasion. The old reading is perfectly correct: 
You have work for me, there's your payment: Hence : 

Thus, they occasion the work which he executes, and 
the work itself becomes the payment. 
Mr. Steevens would read : 

You've work'd for me, there is your payment: Hence. 



Scene II.— -page 196. 
Second Senator. Which now the public body. 

Mr.Malone demands, u by what oversight could Which 
be printed, instead of And?" I answer : That composi- 
tors, through inattention, frequently substitute one word 
for another. In the present instance, the compositor, 
having charged his memory with the entire verse, and 
the latter which being uppermost in his thoughts, in- 
considerately placed that word at the commencement of 
the line. 

There is no justifiable reason for leaving so gross an 
error in our Author's works. 



Scene II.— page 198. 

First Senator. thou shalt be met with thauks, 

Allow 1 d with absolute power, and thy good name 
Live with authority : 

However licensed, privileged, or uncontrolled the power 
may be, as intended by the Senator, yet, according to 
Dr. Johnson's. meaning of the word Allowed, even how- 
ever uncontrolled, it becomes weak in comparison with 
the original. I am certain our Author wrote : — 



400 TIMON OF ATHENS. 

thou shalt be met with thanks, 



Hallow d with absolute power, and thy good name 
Live with authority : 

Meaning : That the power which the Senators design 
to invest him with shall be held most sacred: it shall 
be as unchangeably his, as though he were consecrated 
Governor of Athens at the altar : thus, his good name 
shall live with authority. 

The person who read to the transcriber did not suf- 
ficiently aspirate the H: thus the error. 



Scene II. — page 199. 

Timon. So I leave you 

To the protection of the prosperous gods, 
As thieves to keepers. 

The word prosperous, however defended by Mr. Stee- 
vens, is certainly an error. Were Timon to testify his 
affection for the Senators, he could not wish them bet- 
ter, than to leave them, as Mr. Malone says, to the gods, 
who are the authors of the prosperity of mankind: and, even 
though they were taken as much care of as keepers of 
prisons take of thieves, still is the wish pure and good. 

But Timon has no such good wishes for the Senators : 
he has just told the Delegates he would send them back 
the plague: nor does he care even for the people; no, 
not for The reverend' 'st throat in Athens. However, he 
certainly leaves them to the protection of some power, 
but not to a heavenly one. I read, as I am certain the 
Author wrote : 

So I leave you 



To the protection of the phosphorus gods, 
As thieves to keepers. 

He leaves them to the protection of the gods of fire — 
the infernal gods, who, no doubt, would be as careful of 
them as the keepers of prisons would be of thieves. 



TIMON OF ATHENS. 401 

Scene III.— page 203. 

Messenger. I met a courier, one mine ancient friend; — 

Whom, though in general part we were oppos'd, 
Yet our old love made a particular force, 
And made us speak like friends: — 

The obscurity of this passage arises from the repe- 
tition of the word made. This error is certainly the 
compositor's, and arose from his having so recently com- 
posed a similar word in sound and characters, which 
also afforded a good sense to him; who, in the progress 
of his work, perceived not the tautology. We should 
read : 

Yet our old love made a particular force, 
And bade us speak like friends : — 

Love, like an umpire, reconciled their difference, and 
bade them speak like friends. 



©t&rtfo* 



ACT I, 

Scene I. — page 
Iago. A fellow almost damn'd in a fair wife; 

Cassio is a bachelor, therefore the word — almost, 
means,— -that he is on the point of being married to a 
woman who will prove a curse to him ; even so near, 
as though the bans were already proclaimed. 

But, why should he be almost damn'd by marrying 
a fair woman ? Beauty, in the softer sex, detracts not 
from virtue. We certainly should read: 

A fellow almost damn'd in a frail wife; 

which at once announces the licentious character of 
Bianca, and that odium designed by the speaker is thus 
cast on the spirit of Cassio. I make no doubt the com- 
positor mistook the word, and am inclined to think that, 
for damn'd, we should read banned: meaning, that they 
were as near being married as though the bans were 
published : besides, he might also play on this word; for, 
banned means cursed; then the word fair would stand 
good, for the beauty of his wife would prove a curse to 
him. 



Scene II. — page 242. 

Iago. Though in the trade of war I have slain men, 
Yet do I hold it very stuff o'the conscience, 
To do no contriv'd murder; I lack iniquity 
Sometimes, to do me service: 



OTHELLO. 403 

Do not the words — I lack iniquity, Sec. tend to prove, 
that Iago is tenacious of committing murder — Though, 
in the trade of war, to slay his fellow-creatures, he deems 
it meritorious ? The transcriber unquestionably mistook 
the sound of the word. We should read: 

Yd; do I hold it very tough o'the conscience, 
To do no contriv'd murder : 

Thus, he would impress on the mind of the Moor, 
that even personal advantages should not actuate him 
to break the sacred commandment. To commit murder, 
would go as hard against his conscience, or meet with 
as strong opposition, as a knife against a tough piece of 
timber. But the present text displays an axiom quite 
the reverse, and which could not fail of impressing on 
the mind of Othello the depravity of Iago; for, if not 
praiseworthy, he makes murder justifiable in cases of 
revenge : Stuff oHhe conscience being, in other words, 
the nonsense of weak or pusillanimous minds. 

Iago is aware of the pure principles of the Moor, and 
to persuade the latter that he (Iago) possesses those 
fine feelings attached to a scrupulous character, he tells 
him, that he would have yerk?d Roderigo under the ribs, 
had it not been that his conscience would not submit to 
so base an act. 

This is one of the innumerable errors for which the 
transcriber is accountable. 



Scene II. — page 245. 

Othello. And my demerits 

May speak, unbonneted, 

The Commentators have certainly misunderstood 
Othello's meaning — the gentleman who gives the initials 
A. C, excepted, who seems to have had a better concep- 

2 D 2 



404 OTHELLO. 

tion of the passage. That mark of superiority which 
the wearing of a hat or bonnet gives in the presence of 
distinguished personages, is not what Othello means; 
but that his former rank in life and his merits were of 
so honourable a nature, that he has no necessity to cover 
them by any specious falsehoods ; they may speak unbon- 
netedy i. e. uncovered: they answer for themselves. A 
person conscious of having acted a just and honourable 
part, says, and with propriety, — My actions speak for 
themselves: such is Othello's meaning. 



Scene II. — page 252. 

Brabantio. Abus'd her delicate youth with drugs or minerals, 
That waken motion : — 

The power of such drugs are supposed to awaken desire, 
and to inflame the blood to lustful passion : therefore, 
that pudicity which Brabantio imagines to have lulled 
desire, Othello has awakened by the influence of those 
incentives. 



Scene III. — page 270. 

Othello. It was my hint to speak. 

The old quarto has — hent, which, in my opinion, should 
read — bent. This word removes all obscurity. It was 
the bent of his inclination to render himself agreeable to 
Desdemona; and the more extraordinary the events of 
his pilgrimage, the stronger became her curiosity to hear 
a regular narrative of his adventures. 

The h and b in MS. have a strong similarity. 



Scene III. — page 276. 

Brabantio. 1 never yet did hear, 

That the bruis'd heart was pierced through the ear. 



OTHELLO. 405 

To pierce through the ear must inflict pain. This is 
totally contrary to Brabantio's meaning. The text is 
certainly corrupt. We should read : 

That the bruis'd heart was pieced through the ear. 

i.e. made whole again: Where there is a bruise there 
must be a break ; and, as Brabantio says, words art words, 
consequently, they cannot, in such an instance, have a 
healing quality. 

All must allow, taking the passage figuratively, that 
severe words, piercing through the ear, must affect the 
heart; thus, the bruised heart: therefore, the text is in 
direct opposition to this figure. But what the Poet 
meant, and which he unquestionably gave, was, that 
actions, not words, can piece the heart that has been 
bruised by ill usage. 

From the cursory view the compositor took of his copy, 
he mistook the word, and added an r, which ma.de pierced. 



ACT II. 

Scene I. — page 

Montano. What ribs of oak when mountains melt on them, 
Can hold the mortise ? 

I cannot reconcile the figure which this passage 
conveys. 

The idea of a land mountain melting on a ship in the 
midst of the ocean is ridiculous : Mr. Steevens, in this 
instance, seems to have got out of his depth. And how 
a substance, already in a liquid state, can be said to melt, 
I am yet to learn: — water can only form into a solid body 
by petrifaction or frost : and though a mountain of ice 
were attached .to each side of a ship, so that she lay on 
her keel, her ribs could receive no injury. In short, the 
passage is corrupt. I am certain our Author wrote : 



406 OTHELLO. 

What ribs of oak when mountains meet on them, 
Can hold the mortise ? 

Thus, we gain a natural and familiar figure. The waves 
swelling mountains high, rush with impetuous force, and, 
in their violent pressure, meeting her on each side, asto- 
nishment is raised how she can resist the collision. 

A vessel while cutting through a liquid mountain must 
have a mountain on each side of her; and this figure we 
find in Troilus and Cressida, Act I. sc. iii. 

"and, anon, behold 

The strong-ribb'd bark through liquid mountains cut, 
Bounding between the two moist elements," 

This is precisely the figure that awakens the amaze- 
ment of Montano. 

The transcriber elevated the second e above the first, 
in the word meet, which the compositor took for an I: 
such errors in MS. frequently appear. 



Scene I. — page 308. 

Cassio. And in the essential vesture of creation, 
Does bear all excellency. — 

The folio reads, Do's tyre the ingeniuer. This evi- 
dently corrupt hemistic has been deemed by Dr. Johnson, 
Mr. Steevens, and other Commentators, to contain some 
hidden beauty, and which, if retrieved, would be infinitely 
preferable to the present unpoetical reading. I have at- 
tempted its recovery, and am persuaded that I have 
succeeded ; but so contrary is the sense obtained by my 
restoration, that it gives quite a different turn to the 
passage. 

Let us now compare the characters which compose 
the words, and see how far sound has overcome sense : 

The folio reads : 

"Do's tyre the ingeniuer." 
I read : 

Does tire the Indian ever. 



OTHELLO, 407 

Thus corrected, the passage produces the following 
meaning: He hath obtained a wife that paragons de- 
scription; one whose perfections exceed the blazoning 
pen of panegyrists; and who, instead of courting the 
lascivious couch of pleasure, or the false attractions of 
pomp, aims only to stimulate the Indian (the Moor) to 
those humane and beneficent acts for which Heaven 
originally designed mankind. Such noble, humane, and 
generous deeds are what Cassio figuratively calls, — the 
essential vesture of creation; and in which Desdemona 
attires, or decorates the Indian ever. 

Indian and Moor are considered synonymous. 

The word tire was, I believe, formerly spelt tyre; 
however, if not, we know that the y for an i came from 
the transcriber; tire means — dress, particularly a head- 
dress, such as a grand turban. The word is used by our 
Author elsewhere : in one of his plays we have, — 

" If I had such a tire, this face of mine 
Were full as lovely as is this of hers," 

Numbers sound the word Indian — ingen; and for the 
termination, ever, we have iuer: Here, owing to false 
orthography, ingen (for Indian) was nearly, or perhaps 
closely joined to ever, and an i was substituted for the e, 
thinking the word ingeniuer; which might, as Mr. Henly 
observes, have been the old mode of spelling ingeneer ; 
but take the dot from the i, and you have ever; for the 
u, in Shakspeare's time, maintained the rank which the r 
does at present. Thus, I hope, the passage corresponds 
with the wish so particularly expressed by Mr. Steevens 
in the following words : — 

" The reading of the quarto is so flat and unpoetical, 
when compared with that sense which seems meant to 
have been given in the folio, that I heartily wish some 
emendation could be hit on, which might entitle it to a 
place in the text." 

On a passage of this consequence I cannot be too par- 
ticular; probably Shakspeare gave tire, thus — 'tire; by 



408 OTHELLO. 

which the word alluded to dress in general, and this 

perfectly corresponds with essential vesture. However, 

we have a passage in Pericles, Prince of Tyre, 

where the word is used : 

" But I much marvel that your lordship having 
Rich tire about you," &c. 

I trust that the passage, as restored, is susceptible of 
a rich meaning. 



Scene I.— page 311. 

Cassio. Traitors ensteep'd to clog the guiltless keel, 

Mr. Steevens invites every reader to make what he 
Can of enscerped, as in the first copy. I read : 

Traitors enscarped to clog the guiltless keel, 

A scarp, in fortification, is the slope on that side of a 
ditch which is next to a fortified place. All sand-banks, 
by the motion of the tide, are so formed. If, then, a 
vessel in full sail comes in contact with one of those 
enscarped traitors / its guiltless keel enters therein, and 
the vessel, not having sufficient depth of water to ride 
ov«er it, must become a wreck. 

This word perfectly corresponds with guttered rocks, 
and congregated sands, which are, in fact, the enscarped 
traitors that clog the guiltless keel ; but which, as having 
a sense of beauty, suffered the divine Desdemona to pass 
with safety. 



Scene III.— page 333. 
Iago. Three lads of Cyprus, — 

The folio has — Three else of Cyprus. From either 
of these readings we may derive a meaning, but both 
are insufficient in point of spirit. I am of opinion we 
should read — Three elks of Cyprus. 

Alluding to the wild principles of wanton youth. 



OTHELLO. 409 



Scene III. — page 341. 

Othello. He that stirs next to carve for his own rage, 
Holds his soul light: 

Before I perceived that the quarto of 1622 read — 
forth, I was about to propose that word, which I am 
certain is most correct : 

He that stirs next to carve forth his own rage, 
Holds his soul light: 

Meaning : That he who dares intemperably step forth 
to cut or wound his companions, holds his soul light. 



Scene HI.— page 344. 

Othello. And passion, having my hest judgment collled, 

According to the present text, Othello is made to cast 
a reflection, not only on his own colour, but also on the 
principles of his heart. In short, he is made to say, that 
his judgment is as dark as his skin. I read: 

And passion, having my hest judgment coiVd, 

Othello has come to learn the cause of the tumult; 
and, on witnessing his own officers engaged in it, passion 
raises a tumult in his soul that overcomes reason. CoiVd 
means disturbed, or flurried, which gives full force to the 
entire passage. This word also bounds the measure of 
the verse. 

The quarto edition reads — cooVd: the difference is 
only in one letter; and that evidently introduced by an 
o being in the i compartment of the letter-case, these 
two characters being immediately next each other. In 
respect to the word colli/, Mr. Steevens had no necessity 
to doubt its modern use. The black crustation formed 
by smoke on culinary utensils has no other term: the 
colly of the pot is familiar to both cook and scullion. 



410 OTHELLO. 



ACT III 



Scene III. — page Sib. 

Iago. Which doth mock 

The meat it feeds on ; 

Few passages have occasioned more controversy than 
this; and I believe, after all, that our Commentators 
have argued without effect. The original reads mocks ; 
but by what means are we to learn that any monster 
mocks the meat it feeds on ? 

Sir T. Hanmer proposes makes, which has been ably 
defended. But how is a monster to make its meat? Can 
it produce meat from its own substance ? 

Mr. Steevens very judiciously observes, that the green- 
ey^d monster seems to have reference to an object as familiar 
to Shakspeare's readers, as to himself, and this I believe. 

Our Author frequently makes the most insignificant 
animals become great in metaphor, and figures of conse- 
quence in similitude. Now, in the present instance, it may 
seem strange to my Readers, that a small domestic animal 
may have been the mighty green-ey'd monster to which 
our ingenious Bard alludes — I mean the mouse: indeed 
familiarly, it is often called a little monster : but its eyes 
are not to say green; however, a white mouse, in Shak- 
speare's time, would have been a very great curiosity; 
and if one had been produced with green eyes, it would 
have equally attracted the notice of the naturalist. 

Now, the mouse has a peculiar propensity, — at least, 
I never heard of any other animal, 



Which doth muck 



The meat it feeds on: 

The mouse, after it has glutted on a piece of nice meat, 
leaves as much of its excrement on the residue as it pos- 
sibly can; and thus it treats that with indecency and 
contempt, which it doated on until its hunger was per- 
fectly appeased. And so with jealousy, whether real 



OTHELLO. 411 

or imaginary; for when the sensual appetite is satisfied, 
then is the mind crowded with every aggravating cir- 
cumstance that can strengthen this violent passion, and 
the object that yielded delight is reproached and spurned 
with indignation. 

Iago himself was a jealous fool, and spoke from 
experience. 

The word muck is used by Cominius, in his eulogy of 
Coriolanus : 

" Our spoils he kick'd at ; 



And look'd upon things precious, as they were 
The common muck o' the world : 

See Coriolanus, Act. II. sc. ii. 

I do not offer this as a restorati&n, but as a hint for 
the critic and naturalist. 



Scene III.— page 382. 

Othello. Where virtue is, these are more virtuous: 

The word these seems corrupt, but more, which has 
been particularized by the Commentators, I think correct. 
I read : 

Where virtue is, there are more virtuous : 

Othello observes, — 

'Tis not to make me jealous, 



To say — my wife is fair, feeds well, loves company, 
Is free of speech, sings, plays, and dances well." 

Such accomplishments and inclinations are not virtues; 
yet, according to the present text, they have no other 
signification. Othello means, that vice is not general : 
many dissolute and libidinous characters inhabit the 
same city where virtue is conspicuous. — To say, in- 
deed, that my wife is unchaste , because she is fair, feeds 
well, loves company, &c. were casting an illiberal re- 
flection on all her sex; for there are numbers who have 
the same perfections and the same passions, and yet 
retain unsullied reputation : therefore, where virtue is, 



412 OTHELLO. 

there are more virtuous; and, why should not my wife be 
considered of that number ? 

Thus, the change of one letter, an r for an s, gives a 
correct reading and a familiar meaning. 



Scene IV. — page 424. 

Cassio. So shall I clothe me in a forc'd content, 
And shut myself up in some other course, 

So perverted a reading as the present passage dis* 
plays can scarcely be met with in these Dramas; a con- 
vincing proof that most of the faults must be attributed 
to the transcribers, who, disregarding the value of the 
text, gave sound, no matter how far remote the sense. 
There are three gross errors in one verse : I am almost 
certain our Author wrote : 

So shall I clothe me in a forc'd content, 
And suit myself up in some order coarse, 
To fortune's alms. 

The quarto reads — shoot; altered to shut. Shoot and 
suit are sounded alike by many, particularly in Ireland : 
Other and order are not far removed in sound; and 
course and coarse have scarcely any difference; indeed 
many well-educated persons say course, for coarse. The 
sense of the passage is obviously this : The worthy 
Cassio feels so forcibly the resentment of Othello, that, 
if he cannot regain his confidence and the rank he held, 
fame, which is the soldier's glory, he will no longer 
seek; but, disgusted with society, will assume a forced 
content; clothe himself in the coarse habiliments of some 
religious order; and, leading a recluse life, submit to 
live on Fortune's alms. 

Thus, clothe, suit, and the coarse habiliments of a reli- 
gious order, all correspond. 

This passage has occasioned a variety of opinions. 



OTHELLO. 413 

Scene IV.— page 426. 

Desdemon a. For let our finger ache, and it indues 

Our other healthful members ev'n to that sense 
Of pain : 

Probably our Author wrote — inducts, i. e. conveys: 
The pain of one part carries anguish to another. The 
e and c in MS. are seldom so clearly written as to be 
distinguished one from the other ; by the sense of the 
word we are mostly guided. The sound of t, in inducts, 
is almost lost, so that the transcriber might have written 
indues, which the compositor took for indues. In this 
there is a much greater probability than that the tran- 
scriber should mistake indues for subdues; and the sense 
which this correction gives must be far preferable to 
the Commentator's forced elucidation, that a pain in one 
part of the frame was to tincture, or to embrue the same 
sensation in another. 



ACT IV. 



Scene I. — page 442. 

Othello. Have you scored me ? 

This figure is by no means elegant ; nor does the word 
stored, as in the old quarto, give that force which an 
expressive hemistic is designed to convey. I certainly 
think our Author wrote : 

Have you cored me ? 

Meaning : Have you cut the core of my heart ? 
It is a common phrase to say — core the apples; and, 
have you cored the apples ? 



414 OTHELLO, 

Scene I. — page 447. 
Othello. With all my heart, sir. 

This is elliptically expressed ; Othello is supposed to 
repeat the words — Save you, as used by Lodovieo. 



Scene II. — page 456. 

Othello. — — but (alas !) to make me 

A fix'd figure, for the time of scorn 
To point his slow unmoving finger at, — 

I must concur in opinion with Mr. M. Mason, that 
this passage is erroneous: and, however confident Mr. 
Henly may have been of the Author's meaning, he has, 
I think, stretched a little, in saying, that — the text in its 
present state is perfectly intelligible. I believe we gain 
the Author's words by reading: 

but (alas !) to make me 

A nVd figure, for the type of scorn 
To point his low unmoving finger at,— 

Thus, the passage displays two figures: Othello is 
made the mark of scorn, and at whom every person (as 
he supposes) will point their low unmoving Jin ger. 

The second figure is that of the printing type, called an 
Index; which points the fore-finger to some particular 
passage in a book: this Othello considers as the type 
of scorn, and that, in the records of his government, it 
would point, thus (£f% at the page of his disgrace. 

To point contemptuously at any object, we rather de- 
press than elevate the finger; and though the Index 5 
in modern type, has the finger nearly parallel, yet, 
formerly, it was more depressed than raised. 



OTHELLO. 415 

Scene II. — page 466. 

Desdemona. Either in discourse of thought, or actual deed; 

Discourse of thought is an unprecedented phrase. — 
The emendation recommended by Mr. Pope is so far 
judicious, that a pure sense is obtained; but when we 
reflect that both transcriber, compositor, and corrector, 
must have known that particular part of the catechism 
which points out the three ways of committing sin, i. e. 
in thought, word, and deed, we can scarcely imagine the 
passage would hare been suffered to pass without cor- 
rection. — I am, therefore, strongly inclined to think that, 
in this instance, we receive another example of the 
transcriber's having mistaken the sound of the words, 
and that our Author wrote : 

Either in discursive thought, or actual deed ; 

Thus we obtain a meaning worthy of the great Bard ; 
and so clear, that to introduce an elucidation were an 
insult to human understanding. 

The words have a strong similarity in sound : — discur' 
she, and discourse of, might deceive even a chaste ear. 



Scene III.—- page 472. 

Dbsdemona. My mother had a maid call'd — Barbara ; 

She was in love ; and he, she lov'd, prov'd mad, 
And did forsake her; 

Dr. Johnson thinks that by the word mad, is meant 
mid, frantic, uncertain: and Mr. Ritson, that it ought to 
mean inconstant. However, I scarcely think, though the 
allusion is to inconstancy, that it can possibly be forced 
out of the present text. 

The d compartment, in the letter case, is exactly over 
that of the n, and frequently the <Ts fall into the n box : 
In my opinion our Author wrote: 



416 OTHELLO. 

She was in love; and he, she lov'd, prov'd man, 
And did forsake her. 

He was, like the rest of his sex, inconstant: he was 
faithless, and deserted her: — thus, the figure aims at 
the misery which Desdemona feels in the changed 
affections of Othello. In a subsequent part of this Act, 
she exclaims : — 

— " O, these men, these men !" 



Which exclamation is fully expressive of that opinion 
of men which she had been early taught, in order to guard 
her against the snares they often lay to entrap innocence. 

That our Author conceived inconstancy characteristic 
in man, we have his own words : 

" I have suffered more for their sakes, more than the villainous 
inconstancy of man is able to bear/' 

As much as to say, they are all alike, inconstant. 



Borneo ants Uttlfet 



ACT I. 

. Scene I. — page 28. 
Capulet. Earth-treading stars, that make dark heaven light: 

With Dr. Warburton I must coincide, that this pas- 
sage, in its present state, is nonsense ; but with the altera- 
tion which he proposes, and which is far from being' in- 
genious, I cannot concur, as it changes both the Author's 
meaning, and removes the designed antithesis. 

Dr. Johnson observes, it is common to say, that beau- 
ties eclipse the sun: true; and, with the same propriety, 
we may say, that beauties eclipse the stars: such, I am 
convinced, was the Author's meaning; but I defy the 
present text to produce that effect. 

In this passage, one error has necessarily occasioned 
a second; the first has entirely escaped the notice of 
my predecessors; I mean the word make, which should 
read mask: — thus: 

Earth-treading stars, that mask dark heaven's light: 

Were it not for the influence of the moon and stars, 
the firmament must be obscured at night from human 
vision; therefore, the Poet calls the firmament — dark 
heaven. Now, as a greater luminary must mask, or screen 
an inferior, so Capulet says, the earth-treading stars (the 
beauties at his feast) shall display so great a blaze, that 
they shall mask, or eclipse the stars of heaven. 



418 ROMEO AND JULIET. 

The transcriber mistook the sound of the word, and, 
for mask, wrote make; which word obliged the corrector 
to expunge the apostrophe and s, in the word — heaven's. 

Mr. M. Mason gives nearly the same elucidation which 
the text, as now restored, exhibits : he reads : 

" Earth-treading stars that make dark, heaven's light." 
But however great an earthly luminary may be, it 
cannot make dark the light of heaven, though it must 
mask, in a confined space, such part of the firmament as 
it opposes. 



Scene I. — page SO. 

Capulet. Such, amongst view of many, mine, being one, 

May stand in number, though in reckoning none. 

Doctor Johnson observes, the old folio gives no help : 
the passage is there, — " Which one more view" 

Various efforts have been made to obtain the original 
text, but in vain; and, with the reading of the quarto 
of 1597, all modern Editors have been compelled to be 
satisfied. 

But, unfortunately, correct words attracted the atten- 
tion of my predecessors; who, judging them corrupt, 
laboured to substitute others in their place, whilst that 
wherein the error lay, remained unnoticed. I take my 
reading from the old folio, which evidently is the Au- 
thor's, though it retains the error; and which crept iir 
by the transcriber's mistaking the sound of a single 
word. I read : 

Which one, o'er view of many, mine being one, 
May stand in number, though in reckoning none. 

Thus, the reader will perceive that, by the omission 
of one letter, an excellent meaning is obtained. The 
transcriber wrote more, instead of o'er. The punctua- 
tion necessarily required correction, and to which I have 
attended. 



ROMEO AND JULIET. 419 

Old Capulet is well aware that, among the beauties 
invited to his feast, none of them can equal Juliet; but, 
not wishing- to appear partial, he leaves Paris to his 
own election : he, however, expects that the charms of 
Juliet will prove most attractive; and thus, parental 
tenderness will have a double triumph. — Come, says 
Capulet, go with me — 

hear all, all see, 



And like her most, whose merit most shall he: 

Thus, he tells him to make his election of one; which 
one, o'er view of many beauties, Juliet may stand in 
number. 



Scene V. — page 71. 
Juliet. You kiss by the book. 

This passage is wholly misunderstood. The allusion 
is to the kissing of the Sacred Writ, to confirm an oath. 
If the party commits the sin of perjury, a second kiss 
cannot absolve him from the sin : therefore, if truth be 
in the one kiss, which Romeo hath taken, Juliet is satis- 
fied. — You swear to me, says she, by that kiss, and if it 
was a sinful kiss, you are perjured, and a second will 
only heighten the offence ; but, if there be truth in it, 
let it remain as a testimony of your virtuous principles. 



ACT II. 



Scene II. — pageM. 

Juliet. Thou art thyself though, not a Montague. 

After what has been advanced on the punctuation of 
this passage, and the various examples given to sanction 



420 ROMEO AND JULIET. 

the word though, — farther animadversion may be con- 
sidered intrusive: but, notwithstanding that ingenuity 
has given a plausible explication, I believe the passage 
corrupt, and consequently misunderstood. In Act I. sc. v. 
we see the character which Capulet gives of Romeo : 

" He bears him like a portly gentleman; 
And, to say truth, Verona brags of him, 
To be a virtuous and well-govern' d youth :" 

From this character we must conclude, that not only 
the people of Verona, but the Capulets also, consider 
Romeo in the most favourable light, and, that he neither 
possesses the principles nor prejudices of his family: 
therefore, as he does not interfere in the disputes of the 
Montagues against the Capulets, he was — 
■ thought not to be a Montague. 

Thus, we obtain the true reading by the addition of 
a single letter, and the punctuation remains the same as 
in the old copies. 



Scene II. — page 94. 
Romeo. My sweet! 

These two words have occasioned much controversy: 
Mr. Malone defends the original copy of 1597, which 
reads, — Madam : an appellation as ill suited, as though 
Romeo said, What do you want? — The two subsequent 
copies, and the folio, read, — My niece, which, though 
equally absurd, proves that the original word had some- 
thing of that sound ; but, as Mr. Malone observes, — 
What word that was, it is difficult to say. Now that 
word, I am confident, was — Novice. 

Juliet has promised Romeo to make that irrevocable 
vow, which seals her obligation to him for life; and, in 
her present state, he considers her as one in her novi- 
tiate, and who only awaits a suitable opportunity to en- 
ter into that sacred engagement, which binds her to a 



ROMEO AND JULIET. 421 

religious life; therefore, as the vows of Juliet are to be 
made to Romeo, he calls her, familiarly — My novice ! 

The phrase, in all probability, was misunderstood: or 
the word might not have been sufficiently clear in the 
MS. and novice, the compositor changed to niece: an 
error, indeed, which, from the hidden meaning of the 
word, admits an excuse. 

The Editor of the second folio changed my niece to 
my sweet, and which has been adopted by most of the 
modern Editors. 



Scene IV. — page 104. 

Mercutio. 0, he is the courageous captain of compliments. 

Dr. Johnson, by his interpretation, makes Tybalt a 
complete master of all the laws of ceremony ; whereas 
the passage alludes only to the prescriptive formalities 



used in fencing. 



ACT III 

Scene II. — page 144. 

Juliet. Spread thy close curtain, love-performing night! 
That run-aways eyes may wink ; 

On the compound word- — run-aways, an infinity of 
learned comment has been expended, but all in vain : 
yet, according to the orthography of Shakspeare's time, 
the transposition of a single letter gives the original 
word ; and produces so clear a meaning, that neither the 
Greek of Judge Blackstone, nor the laboured elucida- 
tions of the other Commentators are necessary. Our 
great Poet wrote : 

Spread thy close curtain, love-performing night ! 
That unawares, eyes may wink; and Romeo 
Leap to these arms untalk'd of, and unseen! 



422 ROMEO AND JULIET. 

Juliet invokes night to mantle the world in darkness, 
that, by a heavy atmosphere, sleep may steal unawares 
upon the eye-lids of those who would obstruct her 
pleasures; and that then Romeo may leap to her arms, 
untalked qf } and unseen. 

What can possibly be more simple? Now see how 
the error originated. The old mode of spelling un- 
awares, was unawayrs: — the word had, what printers 
term, a literal error; that is, such as on o for an r; in 
the correcting of which, having taken out the o, the 
compositor placed the r at the beginning of the word, 
and thus turned unawayrs to runaways. 

In the second quarto, a passage in Othello reads — 
w unravished tale deliver:" which error arose from the 
same cause as run-away s ; the v was misplaced by the 
compositor. — The passage has been corrected: for un- 
ravished, we read unvarnished. 



Scene II. — page 154. 

Juliet. That — banished, that one word — banished, 
Hath slain ten thousand Tybalts. 

Meaning : That the banishment of Romeo is as great 
an affliction to her as though ten thousand Tybalts were 
slain : for, nothing but the death of ten thousand 
Tybalts could merit such a punishment ; consequently, 
her love for Romeo was ten thousand times greater than 
she felt for Tvbalt. 



ACT IV. 

Scene I. — page 189. 
Paris. And I am nothing; slow to slack his haste* 



■& 



Since the original MS. was first handed to the players, 
this passage has been totally misunderstood. 



ROMEO ANiJ JULIET. 423 

The first edition reads: 

k ' And I am nothing slack to slow his haste," 

The transcriber wrote to, instead of too. The passage 
corrected yields a perfect sense: 

My father Capulet will have it so ; 

And I am nothing slack, — too slow's his haste. 

Meaning: However anxious Capulet may be to have 
our marriage celebrated, my anxiety keeps pace with 
his; nay, I would be before him in that; for all the 
haste he can possibly make is too slow for my passion. 
See Act III. sc. iv. where, alluding to the day fixed on 
for their marriage, Paris testifies the same impatience : 
" My lord, I would that Thursday were to-morrow.''' 



Scene I.— page 191. 
Juliet. That is no slander, sir, that is a truth; 

The quarto, 1597, reads — "That is no wrong" But 
the measure is defective. 

Mr. Steevens defends the present reading, grounding 
his defence on the reply of Paris : 

Thy face is mine and thou hast slander' d it. 

But have we not a stronger confirmation in Juliet's 
reply, that the word — wrong, is the right reading; for 
she dwells upon that word, as used by Paris : 

Thou wrongest it, more than tears, with that report. 
But a word has been lost, — Juliet's reply should read : 
That is no wrong, sir, that that is a truth. 

The compositor having composed the word — that, 
omitted the repetition; and the verse being defective, 
the Editor of. the folio perfected the measure, by chang- 
ing the word — wrong, to slander; and which all succes- 
sive Editors have adopted. 



424 ROMEO AND JULIET. 

Scene II. — page 199. 
Capulet. Sirrah, go hire me twenty cunning cooks. 

It is curious that Capulet should desire twenty cooks, 
and, as Mr. Ritson observes, for so small a party as half- 
a-dozen guests! 

I am inclined to think the transcriber made a blunder, 
and that Capulet should say, — 

Sirrah, go hire me dainty, cunning cooks. 

Here we have nearly all the characters, and closely 
the same sound. 

This also corresponds with the servant's reply: — You 
shall have none ill, sir; for I'll try if they can lick their 
fingers. 

Why should the servant make the remark respecting 
their qualifications, if his master had not particularly 
expressed himself relative to their abilities? 



Scene II. — page 210. 
Nurse. Go, go, you cot-quean, go, 

This speech certainly belongs to Lady Capulet : Can 
we imagine that a nurse would take so great a liberty 
with her master, as to call him a. cot-quean, and order him 
to bed ? Besides, what business has the Nurse to make 
a reply to a speech addressed to her mistress ? Capulet 
says,— 

" Look to the bak'd meats, good Angelica:" 

And the Nurse is made to intrude her impertinence! — 

Go, go, you cot-quean, go, 



Get you to bed; 'faith you'll be sick to-morrow 
For this night's watching. 

Lady Capulet afterwards calls her husband a mouse- 
hunt; another appellation, which, like cot-quean, none 
but a wife would dare to use. 



ROMEO A1SD JULIET. 425 

ACT V. 

Scene I. — page 225. 

Rojieo. If I may trust the flattering eye of sleep, 

This passage, like one which I have corrected in the 
preceding Act, owes its obscurity to the want of a single 
letter ; and, like that passage, has been misunderstood by 
the Commentators: With the addition of an^ we gain 
the Author's reading : — 

If I may trust the flattering eye off sleep, 

My dreams presage some joyful news at hand: 

Romeo has had a dream : now that he is awake, that 
dream occupies his thoughts; and, from the images 
which his remembrance has retained of it, off sleep, i. e. 
now that he is free from sleep, he presages some joyful 
news to be at hand. 



Scene I. — page 226. 
Romeo. My bosom's lord, sits lightly in his throne; 

His bosom is the mansion; his heart the throne; his 
sensibility his bosom' 's lord, and which, as joy or grief 
prevails, sits heavy or lightly in his throne . i. e. accord- 
ing to the sensations he internally feels. 



Scene I. — page 232. 

Romeo. Need and oppression starveth in thy eyes; 

Neither starveth nor stareth is the Author's word; he 
unquestionably wrote : 

Need and oppression stayeth in thy eyes; 

His eyes are the residence of need and oppression; 
there they stay; for, as they cannot find any other object 



426 ROMEO AND JULIET. 

equal to him in misery, they cannot quit him. In like 
manner, famine is in his cheeks and misery upon his 
back, each object of wretchedness finds its place. 



Scene II.— page 236. 

Friar Laurence. Unhappy fortune ! by my brotherhood, 

The letter was not nice, but full of charge 
Of dear import. 

My predecessors have dismissed this passage without 
leaving satisfactory proofs to establish the genuineness of 
the word nice; several quotations from other writers are 
left to help critical decision ; but, in my opinion, they 
prove not sufficiently apposite in any point to render 
them efficient. I believe the word nice corrupt, and am 
inclined to think, that our Author used a colder word, 
but one which gave a greater warmth to the passage. 
I read : 

Unhappy fortune ! by my brotherhood, 
The letter was not ice, but full of charge 
Of dear import. 

Meaning: That the letter was not of a cold nature, 
or its delivery so immaterial, that whether it thawed or 
not, the parties could feel no immediate inconvenience. 



Scene III. — page 256. 

Capulet. The dagger hath mista'en,— for, lo ! his house 
Is empty on the back of Montague, — 
And is mis-sheathed in my daughter's bosom. 

The dagger's house is empty on the back of Montague, 
and is, at the same time, mis-sheathed in Juliet's bosom! 
And what is the house ? Why, the sheath. What then 
has the sheath to do, that it should mis-sheath itself? 
Or, what is the sheath, when mis-sheathed? This is one 



ROMEO AND JULIET. 427 

of the rankest pieces of nonsense that our Commentators 
have left for penetration to explore. It appears to me, 
that Shakspeare knew more of the French langvage 
than those who doubted his acquirements. 

Capulet says, The dagger hath mistaken; i.e. it has 
mistaken its own house, and taken up its residence where 
it had no right to enter. But does the text say where 
the dasher hath lodged itself? Xo : not a word about 
the dagger's lodging, but that its house is empty, and 
on the back of Montague. Where, then, did the Poet 
lodge the dagger after it quitted its own house r Alas, 
half-Kay in the innocent bosom of the lovely Juliet. 
This is the melancholy residence it now occupies, and 
which our Author fully expressed: but which ignorance 
has perverted. I read : 

This dagger hath mistaken. — for. lo ! his house 
Is empty on the back of Montague, — 
And it mi-she ath'd in my daughter"* bosom. 

Shakspeare compounded the French particle — mi. 
(half) with the English word sheatldd. thereby producing 
half-sheathed: but which clear picture of the tragic scene 
was lost, by the hissing sound of the s, when preceded by 
the vowel i: — thus, mis-sheathed for mi-sheathed. In- 
deed, a slight pause should be observed after /. in the 
word mi-sheathed, otherwise the s becomes the inse- 
parable companion of mi. Our Author certainly might 
have used the word half but the phrase was too common 
for his lofty imagination. 

The particle mi* is commonly used to express half as 
in the word mi-Mai. (the middle of May,) and mi-chemin. 
(half-way.) The quarto, 1597, reads — "And it mis- 
sheathed," which was altered to is mis-sheathed by the 
early Editors, thinking thereby to obtain some sense, 
but they only made the passage greater nonsense. 

The words— -for, lo! his house is empty on the back of 
Montague, must be considered parenthetical. 



©otttt&s of terrors 



ACT I. 



Scene I. — page 351. 
iEc.EON. And he (great care of goods at random left) 

iEgeon had consigned at various times sundry articles 
of commerce to his factor at Epidamnum ; the death of 
this factor obliged him to take a voyage to look after his 
goods ; for, as we must suppose the factor omitted making 
a regular return of the precise articles sold, the residue 
on hand must have been in a state of confusion; so 
that iEgeon considered his personal attendance abso- 
lutely necessary in order to point out his own property. 

Mr. Malone perceived the text to be erroneous, and 
proposed to read : 

And the great care of goods, &c. which certainly gives 
a much clearer sense than we can possibly obtain from 
the corrupt state of the passage, as exhibited in the old 
copy : but still he was astray : I flatter myself, common 
sense will admit that the Author wrote : 

our wealth increas'd, 



By prosperous voyages I often made 

To Epidamnum : till my factor's death, 

And heed great caves of goods, at random left, 

Drew me from the kind embracements of my spouse : 

Heed, to regard, or look after. Thus, his factor's 
death, and to regard the goods in the stores, that were 
left in a random state, obliged him to make another 
voyage to Epidamnum. 



COMEDY OF ERRORS. 429 

The person who read to the transcriber did not lay 
sufficient emphasis on the word heed, by which the tran- 
scriber caught only the he, which was considered as the 
pronoun bearing- reference to the factor. 

The caves, or vaults foy storing goods, points out 
where they lay at random : cares for caves, must have 
been, at first, a misprint : it read cares, which the cor- 
rector of the proof altered to care: the r and v, in MS. 
are closely alike. 

The passage, in its present state, is rank nonsense. 
The factor is dead, and he, great care of goods at random 
left: Had great care been taken of the goods, they could 
not have been left at random. 

These corrections, and the necessary change of punc- 
tuation, remove all obscurity. 



Scene I. — page 355. 

Duke. Therefore, merchant, 111 limit thee this day, 
To seek thy help by beneficial help: 

I believe our Auther wrote: 

To seek thy help, thy beneficial help: 

Thus, the jingle is entirely removed by force of ex- 
pression. 



ACT II. 



Scene I. — page 365. 

Adriana. How if your husband start some other where f 

The Commentators seem to have fixed their attention 
on the wrong word : the passage is evidently corrupt. I 
read, as I believe the Author wrote : 

How if your husband's heart's some otherwhere ? 



430 COMEDY OF ERRORS. 

This is a natural question, and so familiar where jea- 
lousy operates, that I think it incontrovertible. Other 
where, should read otherwhere. A subsequent passage 
justifies both corrections : 

" I know his eye doth homage otherwhere ,•" 

When a wife says, that her husband's eye doth homage 
otherwhere, she must be understood to mean, that his 
heart is elsewhere engaged. 



Scene II. — page 366. 

Adriana. This foo\-begg'd patience in thee will be left. 
Dr. Johnson's elucidation of this passage is by no 
means satisfactory, though, perhaps, the best it will 
admit. I believe we should read : 

This fool-egg' d patience in thee will be left. 

This phrase comes natural enough from one sister to 
another: especially from one who appears both jealous 
of her husband's love and of her sister's equanimity of 
temper. By fool-egg 'd patience, she means, patience 
derived from Nature; and which, though inherent in 
her, yet should she marry, and be neglected by her hus- 
band, even that patience must give way to indignation, 
and cause resentment. 



Scene III.— page 383. 

Dromio S. This is the fairy land; — O, spite of spites! — 
We talk with goblins, owls, and elvish sprites; 

The second folio reads — elves, which, as Mr. Steevens 
observes, was certainly meant for elvish. Mr. Rowe 
first introduced the present reading: and, in my opinion, 
the correction is injudicious. 



COMEDY OF ERRORS. 431 

From whatever copy the second folio obtained the 
word, it seems to have been of good authority: the 
punctuation only required correction. I read : 

This is the fairy land; — 0, spite of spites! — 

We talk with goblins, owls, and elves ; — Sprites, 

If we obey them not, this will ensue, 

They'll suck our breath, or pinch us black and blue. 



ACT III. 



Scexe I. — page 390. 

Antiphoi/us E. Do you hear, you minion ? You'll let us in, I hope? 

On the present passage, I deem it necessary to insert 
Mr. Malone's concise note : — " A line, either preceding 
or following this, has been lost. Ivlr. Theobald and the 
subsequent Editors read — / froze ; but that word and 
hope were not likely to be confounded either by the eye 
or the ear." I am certain that all the lines are here, 
though a corrupt word spoils the wit of the passage. 
Our Author wrote : 

Akt. E. Do you her, you minion? You'll let us in, I know ? 

Lt;ce. I thought to have ask'd you. 

Dro. S. And you said, No. 

Dro. E. So, come, help; well struck ; there was blow for blow. 

Dromio of Syracuse plays on the word — know, which 
has the same sound as the negative No. The positive 
i" know, from Antipholus of Ephesus, affords Luce the 
opportunity of giving- her taunting reply— ■" i" thought 
to have asked you ," and enables Dromio of Syracuse to 
play off his witticism — 6i And you said, No" 

The phrase being familiar, the word hope was in- 
serted, through carelessness, by the transcriber. 

Thus, the metre is not only perfect, but the witticism 
well understood. 



432 COMEDY OF ERRORS. 

Scene I.— page 393. 
Balthazar. Once this, 

A trifling correction gives due weight to this very 
corrupt phrase. Our Author unquestionably wrote : 
Ounce this,— your long- experience of her wisdom, &c. 

Meaning: Weigh this, or these circumstances. He 
then enumerates divers reasons to justify the honour of 
Adriana, each bearing strong influence in the scales of 
prudence. 



Scene II. — page 400. 

Antipholus S. And as a bed I'll take thee, and there lie. 
Without reflecting on the penetration of Mr. Edwards, 
I cannot but testify some astonishment how he could 
change the position of the person, by placing Antipholus 
on the bosom of Lucinda, when the text speaks the 
contrary. The old copy is certainly correct : 
I as a bud will take thee, and there lie. 

The plain meaning of which is, — That he would take 
her to his bosom as he would a budding Jtower, and 
there she should lie. The word bud denotes the youth 
of Lucinda, whose charms are yet to expand. 

The present text conveys not a very chaste idea for 
the hearing of a young lady :— In fact, it is an outrage 
to delicacy. 



Scene II. — page 401. 

Antipholus S. for 1 aim thee: 

Thee will I love, and with thee lead my life ; 
Thou hast no husband yet, nor I no wife: 

From the French, aimer — to love. The subsequent 
verse plainly demonstrates that the word aim is not used 



COMEDY OF ERRORS. 433 

in the same sense as in the preceding speech of Anti- 
pholus : — In that he calls Luciana his u sweet hopes aim :" 
meaning: that she is the only object to which his hopes 
aspire. In the present, he says, — 

Call thyself sister, sweet, for I aim [I love] thee: 
Thee will I love, and with thee lead my life ; 

The old copy reads — " for I am thee," corrected by 
Mr. Steevens ; but he gives the word aim its English 
signification. 



Scene II. — page 404. 

Dromio S. In her forehead; armed and reverted, making war 
against her hair. 

What labour in vain to make out this part of the map ! 
Literally speaking, the part is very corrupt. Our Author 
wrote : 

In her sore head; armed and reverted, making war against 
her hair. 

Meaning: That her head was covered with incrusted 
eruptions, which, opposing the hair, prevented it from 
lying in that order which Nature designed. 

The forehead being free from hair, the eruptions could 
make no war there ; and if she kept her hair back by 
means of a fillet, the eruptions, if she had any on her 
forehead, had none to oppose. An f was mistaken for 
an f 9 thus the error. 



ACT IV. 



Scene II. — page 421. 

Aim ian a. Was he arrested on a band? 
Band, is certainly the true reading : Adriana means 
an obligation, band having the same signification as 

2 F 



434 COMEDY OF ERRORS. 

bond: but Dromio takes it to mean a band for the neck, 
and says, his master is arrested on a stronger thing — 
a chain : — he plays farther on the word, when he meets 
his real master, and offers the money : 

" Ay, sir, the Serjeant of the band; he that brings any man to 
answer it, that breaks his band;'" 

The modern Editors read, — bond. 



Scene III. — page 427. 

Dromio S. Master, if you do expect spoon-meat, or bespeak a 
long spoon. 

If he should not go with the Courtezan, why bespeak 
a long spoon ? We certainly should read and point with 
Mr. Ritson : 

Master, if you do, expect spoon-meat, and bespeak a long spoon. 

Dromio considers that the Courtezan has the French 
disease, and is obliged to eat spoon-meat; therefore, 
he considers a long spoon necessary, that the heat of her 
breath may not inflame him. In his next speech he 

says,— 

" Marry, he must have a long spoon that eats with the devil." 

To avoid catching fire: and with the Courtezan for the 
same reason. The passage is nonsense in its present 
state. 



ACT V. 



Scene I. — page 448. 
Servant. To scorch your face. 

I think the word scotch, as proposed by Dr. War- 
burton, the true reading. To scotch, is to cut or wound 



COMEDY OF ERRORS. 435 

slightly. In the last scene of the fourth Act, where the 
fury of Antipholus is at its height, he says, — 

" But with these nails, I'll pluck out these false eyes." 

And with the same weapons he means to scotch her. 
Scratch would be an unmanly phrase ; and scorch, as 
interpreted by Mr. Steevens, loses all force; for, as 
Adriana has no beard, Antipholus could not punish her 
as he did the Conjuror, by singing his beard with brands 
of fire. 



Scene I. — page 457. 

Duke. Why, here begins his morning story right: 
These two Antipholus's, these two so like, 
And these two Dromio's, one in semblance, — ■ 
Besides her urging of her wreck at sea,— 

Mr. Malone's judgment is seldom astray in pointing 
out errors, but he frequently considers obscurity to arise 
from the loss of lines or words. The present passage 
has lost neither ; its obscurity proceeds from the tran- 
scriber's having given a word bearing the same sound, 
for another of a totally different meaning. I read : 

Why here begins his morning story right: 
These two Antipholus's, these two so like, 
And these two Dromio's, one in semblance, — 
Besides her urging of her wreck, — all say, 
These are the parents of these children. 

The Duke combines the various circumstances with 
the information he had received of the wreck, which 
tally so well, that all say, these are the children of the 
Abbess. 

This mistake of sound lays strong claim to apology ; 
for, after the word wreck, — all say, might easily be taken 
for— at sea. 

2 F 2 



436 COMEDY OF ERRORS. 

Scene I. — page 460. 

Abbess. Go to a gossip's feast, and go with me; 
After so long grief, such nativity ! 

Shakspeare certainly could not so falsely repeat the 
word go. I am inclined to think he wrote : 

Go to a gossip's feast, and gout with me; 

i. e. Taste with me, after so long grief, this new birth of 
happiness. 

The acceptation of the word gout, in the English 
language, is rather limited; but, in the French, it has 



Witu$ &tti>riwttttjau 



ACT II. 



Scene I.— page 34. 

Aaron. To wait, said I ? to wanton with this queen, 
This goddess, this Semiramis ; — this queen, 

While any part of this play is attributed to Shak- 
speare, we should, at least, endeavour to correct mis- 
prints. 

Tamora has already played the strumpet with the 
Moor ; and he, being well acquainted with her lascivious 
principles, knows that she will still continue to play the 
same game. The Author unquestionably wrote: 

To wait, said I ? to wanton with this queen, 
This goddess, this Semiramis; — this quean, 
This syren, that will charm Rome's saturnine, 

A quean is a wanton strumpet, and perfectly corre- 
sponds with the other titles bestowed on the queen. 

The edition of 1600 reads — this nymph, which we 
must naturally conclude was inserted to avoid the repe- 
tition of queen. Nymph is an appellation given only to 
innocence and virtue ; and we are not to expect irony 
from the Moor. But the manner in which the error 
took place is obvious. 

Our Author uses the word elsewhere : 

" As fit as the nail to his hole, or as a scolding quean to a 
wrangling knave." 



438 TITUS ANDRONICUS. 



ACT III 



Scene I. — page 64. 

Titus. For these, these, tribunes, in the dust I write 
My heart's deep languor. 

I am inclined to think the Author wrote — for these 
two, tribunes, &c. and that the word two was omitted 
by the players, as an audience might imagine that the 
number alluded to the tribunes. 

The afflicted Titus says, that for two-and-twentj/ sons 
he never wept; but for these two he must weep inces- 
santly, because unlawfully condemned. 



Scene I. — page 67. 
Titus. Give me a sword, I'll chop off my hands, too; 

It must be admitted, as Mr. Steevens observes, that 
had Titus chopped off one of his hands, he could not 
chop off the other: but this, which seems so very incon- 
gruous, must be admitted to be perfectly natural : for, in 
the extreme of agony, Titus is divested of reflection : 
he thinks, at the moment, that, had he a sword, his 
resolution is sufficiently great to cut off both his hands : 
However, immediately after, he perceives the impracti- 
cability of fulfilling his wild resolution, and all the service 
he requires of his hands — 

" Is, that the one will help to cut the other." 

This seeming incongruity is considered by my pre- 
decessors as a blunder for which the Author is account- 
able. Let Nature speak to the Critic, and I think he 
will find it a beauty. 



TITUS ANDRONICUS. 439 

Scene I. — page 76. 

Titus. Lavinia, thou shalt be employed in these things ; 

The quarto, 1611, reads: 

"And Lavinia thou shalt be employed in these arms."' 

The alteration seems to have been made from a con- 
viction, that things was a safe word, — arms being wholly 
misunderstood. But, perhaps, neither the player nor 
printer knew the figure which the Author designed ; nor 
could they, indeed, from the present punctuation. We 
should read : 

Lavinia, thou shalt be employed: In these arms 

Bear thou my hand: — Sweet wench; between thy teeth. 

I think it will be found, that in this picture the genius 
of our immortal Bard is highly conspicuous. 

Titus places the hand which had been severed from 
his own arm upon the stumps of Lavinia. Here the 
picture must be observed: her elbows rest below her 
bosom, and the stumps present in front, upon which 
Titus has placed his dismembered hand : but poor La- 
vinia, for want of her hands, cannot support it. Titus, 
perceiving this, and seeing, by that inward sorrow 
which her looks denote, that she cannot prevent the hand 
from falling from her mutilated arms, exclaims — Sweet 
wench! As though he said — Alas! you cannot — Well, 
place it between thy teeth. By this means, she holds the 
hand between her teeth, and lets it rest upon the stumps 
of her arms. 

Thus, while she displays the barbarity practised on 
herself, she exhibits the hand of her unhappy father. — 
It is a melancholy picture of human woe, and must 
awaken the most insensible hearts to pity ; and stimulate 
her countrymen to avenge the injuries of her family. 

This restoration, I think, can safely stand the test of 
criticism. 



440 TITUS ANDRONICUS. 



ACT IV. 

Scene II. — page 89. 
Marcus. Revenge the heavens for old Andronicus. 

This passage is by no means clearly understood; and 
though of little importance, has occasioned various 
opinions : 

Dr Warburton reads, — 

" Revenge thee heavens." 
Dr. Johnson, — 

" Revenge ye heavens ! " 
Mr. Tyrwhitt,— 

" Revenge then heavens." 

Mr. Steevens supports the present reading. 
And I am of opinion that the obscurity arises from 
the want of a note of admiration. I read : 

But yet so just, that he will not revenge: — 
Revenge ! — the heavens 1 for old Andronicus ! 

The ellipsis is evident : The heavens' revenge for old 
Andronicus ! 



ACT V. 

Scene I. — page 117. 
Aaron. Make poor men's cattle break their necks; 

Two words are wanting, not only to perfect the 
measure, but also to give meaning to the verse; for 
the infamous Moor says not by what means he made the 
cattle break their necks * I am certain we should read : 

Make poor men's cattle stray, aud break their necks j 

Thus, we have a figure of his wanton villainy : he 
drove the cattle from their pasture to some height, from 



TITUS ANDRONICUS. 441 

whence he precipitated them down rocks, or into some 
dreadful abyss. 



Scene II.— page 120. 

Tamo r a. Titus, I am come to talk with thee. 

Mr. Steevens would perfect this verse by reading, — 

" Titus, I am come to talk with thee awhile." 

We obtain a more spirited reading-, and probably the 
original, thus : 

Titus, I am Revenge, come to talk with thee. 
In her preceding speech, Tamora says, — 

" I will encounter with Andronicus; 
And say, I am Revenge,'''' &c. 

And in a subsequent speech, — 

" I am Revenge; sent from the infernal kingdom." 



iperirlt& ^viutt of ®$vt. 



ACT I. 

Scene I. — page 161. 

Antiochus. At whose conception, (till Lucina reign'd,) 

My predecessors evidently placed their attention on a 
word sufficiently correct, and overlooked the corrupt 
part of the passage. Similarity of sound led the tran- 
scriber astray : for, unquestionably, the Author wrote : 

Bring in our daughter, clothed like a bride, 
For the emhracements even of Jove himself: 
Art chose conception till Lucina reign'd ; 
Nature this dowry gave to glad her presence : 

The meaning is obvious : Art chose, i. e. formed models 
of beauty from conception, (imagination) which were 
supposed to combine a higher degree of perfection than 
Nature had displayed in any individual: But, when 
Lucina came to preside at the birth of the Princess, 
Nature, to do her honour, gave this dowry, i. e. This 
unequalled beauty, and which exceeded all that the 
bright conception of Art could produce. Thus, the 
weakness of Art is opposed to the perfection of Nature. 

In Antony and Cleopatra, we have a passage 
where imaginary beauty is opposed to Nature : 



Nature wants stuff 



To vie strange forms with fancy; yet, to imagine 
An Antony, were Nature's piece 'gainst fancy," &c. 



PERICLES. 443 

Scene I. — page 164. 

Pericles. See where she comes, apparell'd like the spring, 
Graces her subjects, and her thoughts the king 
Of every virtue, &c. 

Here we behold a ludicrous blunder! Mr. Steevens 
has used great labour to extract some sense oat of this 
passage, but in vain ; and, indeed, with much candour, 
he observes, " But having already stated my belief that 
this passage is incurably depraved, I must now add, that 
my present attempts to restore it are, even in my own 
judgment, as decidedly abortive." The correction is, 
however, very simple; but the king was a stumbling- 
block that could not be removed. I read, as I am con- 
vinced the Author wrote : 

See where she comes, apparell'd like the spring, 
Graces her subjects, and her thoughts, thinking 
Of every virtue gives renown to men ! 

As she enters, reflection seems painted on her brow : 
Her thoughts, the active agents of a pure heart, are 
employed in thinking on every virtue; and, as she is 
supposed to practise what purity of principle dictates, 
Pericles considers her as superior to mortal perfection, 
and by which she gives renown to human nature. 

This error may have originated from mistake of sound, 
the king, and thinking, have close similarity : or, if a blot 
was on the n, in think, or that the n did not clearly appear 
in the copy to the compositor's eye, he, very naturally, 
would compose — the king: for, with the exception of the 
dot over the i, which is frequently omitted, all the letters 
are the same. 



Scene I. — page 165. 

Pericles. Her face, the book of praises, where is read 
Nothing but curious pleasures. 

This passage appears corrupt; I read, as I am certain 
our Author wrote : 



444 PERICLES. 

Her face the book of phrases, "where is read, 
Nothing but curious pleasures. 

Pericles, in his admiration of the Princess, conceives 
that every lineament of her countenance displays know- 
ledge : collectively, as a volume replete with interesting 
information. 

This error proceeds from mistake of sound : the per- 
son who recited placed no value on the h, — hence praises 
for phrases. 



Scene I. — page 167. 
Antiochus. all thy whole heap must die. 

The old copies read — "all the whole heap." Mr. 
Malone made, what he terms — this correction. 

That the text is understood, I admit : but I deny its 
correctness, and am bold enough to say that the Au- 
thor wrote head, not heap. The error is solely attri- 
butable to the compositor, who turned the type the 
wrong way, which gave the d the appearance of a p. 
The word that Mr. Malone changed should be re- 
stored; the text, corrected, speaks for itself: 
because thyne eye 



Presumes to reach, all the whole head must die. 

Meaning: Because his eye, by viewing her charms, 
gave the offence, all the whole head must suffer. The 
King was not satisfied that the offending part, (the eye) 
alone should suffice as a penalty, he must have the 
whole head. See the subsequent part of this speech, 
where Antiochus announces the penalty to which all 
princes must submit, who cannot expound the riddle. 
But more appositely, when Pericles declines its ex- 
position : 

" All love the womb that their first being bred, 
Then give my tongue like leave to love my head.'''' 

And again, the reply of Antiochus: 

" Heaven, that I had thy head!'" 



PERICLES. 445 

Scene II. — page 181. 
Pericles. Why this charge of thoughts? 

Change of thoughts, seems to have been the old read- 
ing ; particularly in the folio of 1664. 

Mr. Steevens demands, — "In what respect are the 
thoughts of Pericles changed?" I answer: From a cer- 
tainty that his military power was not sufficiently great to 
oppose that of Antiochus, which was infinitely superior. 
This reflection changes his thoughts from confidence to 
melancholy apprehensions of danger; and which, from 
the tyranny of Antiochus, who is ready to wage war 
against his dominions, he may expect. See the whole 
tenor of this speech, which displays a mind oppressed 
with gloomy apprehensions, and which have changed 
his thoughts from pleasures to dull-ey'd melancholy. 

But the passage, exclusive of the word — change, is 
grossly corrupt. The old copy has — Why should. The 
word — should, though it goes a step beyond the mea- 
sure, most assuredly strengthens the sense. But what 
meaning can we possibly extract from the text, in its 
present state ? particularly with this most discordant, 
nay, disgraceful phrase — " By me so used a guest is." — 
See the passage verbatim : 

The sad companion, dull-ey'd melancholy, 
By me so us'd a guest is, not an hour, 
In the day's glorious walk, &c. 

In short, according to the present reading, seven 
errors are conspicuously glaring ; whereas, the old copy 
has only four: Undoubtedly, both sense and harmony 
must tell us that the Author wrote : 

Let none disturh us : Why should this change of thoughts, 
This sad companion, dull-ey'd melancholy, 
Be by me so us'd a guest? Not an hour 
In the days glorious walk, &c. 

Thus all obscurity is removed. The change of 
punctuation and omission of the word — is, make three 



446 PERICLES. 

alterations. The, before sad, sounds nearly the same 
as — This sad. Be preceding by, must be attributed to 
the compositor, who taking up a B, added y, and forgot 
the leading word; which omission leaving both sense 
and metre defective, the Editor inserted is : hence the 
present pile of confusion, and much to the disgrace of 
our Author's text. 

I submit my regulation of the passage to critical judg- 
ment, and flatter myself the sense is so clear, that eluci- 
dation becomes unnecessary. 



Scene II. — page 183. 

Pericles. Which care of them, not pity of myself, 

(Who am no more but as the tops of trees, 
Which fence the roots they grew by, and defend them,) 
Makes both my body pine, and soul to languish, 
And punish that before, that he would punish. 

The old copy has — "Who once no more:" — Mr. 
Malone would read — Who wants no more." This cor- 
rection also occurred to me ; but I am confident there 
is another error in the passage. Pericles wants no pro- 
tection for himself: it is not self-consideration that — 
u makes his body pine and soul to languish .•" but, it is the 
dread that dwells upon his mind that his innocent sub- 
jects may be punished for what was deemed an offence 
in himself. I am confident the original read — moat, 
which the transcriber spelt — mote, and the compositor 
took it for — more. Thus corrected, the meaning is per- 
fectly clear : 

Which care of them, not pity of myself, 
(Who wants no moat, but as the tops of trees, 
Which fence the roots they grew by, and defend them,) 
Makes both my body pine, and soul to languish, 

Pericles wants no moat for self-preservation, he is only 
anxious for the safety of his subjects ; and he is convinced 
that they will do their duty, They have grown to great- 
ness under his government: he is the roof, his people 



PER T CLES. 447 

the branches ; and, as the tops of trees prove a fence to 
the roots they grow by, and defend them, so would his 
people prove a defence to him. But, though confident 
of this, Pericles wishes not to have warfare introduced 
into his dominions; and knowing that the enmity of 
Antiochus is levelled solely at himself, he, to save his 
subjects from the calamities of war, thinks his absence 
the most effectual method to prevent it. 



Scene II. — page 187. 
Pericles. Bring arms to princes, and to subjects joys. 

What Princes would he bring arms to ? The present 
text is as corrupt as that of the old copy. A single letter 
added to the original, gives the Author's text. 

The old copy reads : 

" Are arms to princes, and bring joys to subjects," 

I read : 

From whence an issue I might propagate, 
Dare arms to princes, and bring joys to subjects. 

Thus Pericles is understood: He considered that, by 
his union, he should have gained such powerful influence, 
that instead of being kept in awe by other states, he might 
hold them at defiance, or even dare them to battle ; there- 
fore, he would bring joys to his subjects : for strong in 
himself, and aided by so powerful an ally, no other Prince 
would dare to offer hostilities. 



Scene II. — page 189. 

Pericles. And finding little comfort to relieve them,. 
I thought it princely charity to grieve them. 

Mr. Malone says — " To grieve them, is to lament 
their fate." 



448 PERICLES. 

Must not a beloved prince, who reigns in the hearts of 
his subjects, and who, for their preservation, expatriates 
himself, be an object of their highest consideration ? And 
must not his absence be a constant source of grief to 
them?— Thus, Pericles, knowing that his presence cannot 
possibly relieve his subjects, thinks it more princely to 
grieve them by his absence. 



Scene III. — page 190. 

Pericles. Thou show'dst a subject's shine, I a true prince. 

The present error, though simple, quite perverts the 
sense designed by the Author. The meaning to be 
extracted from the text is this — Do you show yourself 
to be a good subject, and I shall shine as a true prince. 
We should read : 

But in our orbs we'll live so round and safe, 
That time of both this truth shall ne'er convince, 
Thou show'dst a subject, shine I a true prince. 

i. e. Then shine I a true prince. 

The Poet compares the Prince to the sun, who lends 
his light to his minister during his absence. Thus, both 
are considered as orbs. In the borrowed light which the 
minister receives from the sun, he is to show himself a 
good subject; and when Pericles returns to his domi- 
nions, the minister having proved faithful to his trust, 
then will he shine amongst his subjects as a true Prince. 

The transcriber's ear deceived him, by the hissing 
sound of the s before /*, in shine, and which, after t, 
in the word subject, will be found, if not very distinctly 
pronounced, like subject's shine. 



PFHICLES. 449 

Scene IV. — page 196. 

Cleon. For riches, strew' d herself even in the streets; 

This passage is evidently corrupt. To strew, is to 
spread by scattering : How then can Riches, which is 
made a person, strew herself in the streets? The cor- 
rection is simple. Our Author unquestionably wrote : 

For riches, strewed her pelf even in the streets; 

Pelf is money; the word is used by Cleon to denote 
of what little consideration wealth is when it cannot pro- 
cure those necessaries of life which both himself and 
his people require. Thus, Riches strewed her pelf 
abroad, like Prodigality that throws away money. 

Gower, as Chorus, uses the word pelf. See his ad- 
dress to the second Act : 

" All perishen of man, of pelf 
Ne aught escapen but himself." 



Scene IV. — page 200. 

Cleon, And make a conquest of unhappy me, 

If this be the true reading-, our Author has made 
Cleon a most selfish fellow; for he seems to have no 
consideration either for his own family or the subjects 
of Tharsus : I think the text corrupt, and that we should 
read: 

some neighbouring nation, 



Taking- advantage of our misery, 
Hath stufPd these hollow vessels with their power, 
To beat us down, the which are down already ; 
And make a conquest; — 0, unhappy me! 
Whereas no glory's got to overcome. 

Thus, by changing the punctuation, instead of the selfish 
consideration of the Governor, as in the present text, he 
laments the situation of an impoverished people, who, 

2 G 



450 PERICLES. 

unable to defend themselves, must become an easy con- 
quest ; and that the conquerors cannot lay claim to any 
glory for overcoming those already overcome by poverty. 



Scene IV;— page 200. 
Cleon. Thou speak'st like hint's untutor'd to repeat. 
The quarto of 1609 reads— " like himnes" and from 
which the present reading has been formed. But, not- 
withstanding the supposition of Mr. Malone, and the 
improvement by Mr. Steevens, both supposition and im- 
provement are far removed from the original, which, I 
think, requires no great argument to convince, read : 
Thou speak'st like chimes untutor'd to repeat : 

The word chimes was formerly spelt chimnes : — The c 
dropped out of the page after being composed, and 
went to press with the blunder. 

Cleon means: That the person who addresses him 
speaks that which he knows not, and testifies his joy 
like chimes , that are insensible of the sounds they pro- 
duce; and which, though untutored, they repeat at cer- 
tain periods. 



ACT II. 

Scene I. — page 212. 

1 Fisherman. Honest! good fellow, what's that? if it he a day 
fits you, scratch it out of the calendar, and no 
body will look after it. 

I cannot perceive any deficiency to authorize the sup- 
position that a line has been lost. The term — honest 
Jisherman, as used by Pericles, only astonishes the present 
speaker, for he thinks there is no honesty in the world; 



PLRICLES. 451 

and if honest be a day that fits Pericles, he may scratch 
it out of the calendar, for no person will look after it, 
as he considers that every day produces roguery. 



Scene I. — page 217. 

2 Fisherman. O, sir, things must be as they may; and what a 
man cannot get, he may lawfully deal for — his 
wife's soul. 

This extraordinary passage having held at defiance 
the genius of all my predecessors, and who have been 
compelled to leave it as they found it, I would have dis- 
missed without comment, but that, in its present state, 
sense cannot be extracted from it. Having, therefore, 
reconsidered the passage, I am inclined to think some 
Critics will join in my opinion that our Author wrote: 

and what a man cannot get, he may lawfully deal for — 



as wives are sold. 

Thus it will be perceived that the word sold perfectly 
corresponds with deal for. What he cannot get without 
purchasing, he may lawfully deal for ; and therefore, if 
a man cannot get a wife without making her a commercial 
transaction, he may lawfully deal for one, as wives are sold. 



Scene II. — page 227. 

Simon ides. The outward habit by the inward man. 

If this mode of inversion was so common formerly ', per- 
haps it had firmer ground on which it could establish 
sense than we see exhibited in the present text. In 
my opinion, the word by is corrupt. I read: 

Opinion's but a fool, that makes us scan 
The outward habit: try the inward man. 

Which means : That we are too apt to establish our 
opinions of mankind by external appearances, and not 
by trying the inward man, i. e. his principles. 

2 G2 



452 PERICLES. 

Scene III.— page 230. 

Pericles. By Jove, I wonder, that is Icing of thoughts, 
These cates resist me, she not thought upon. 

There are more errors in this passage than seem to 
have met the penetration of my predecessors. Why 
should Pericles attach an attribute to Jove, after 
swearing by him ? and yet here we have him made the 
king of thoughts! The passage is sadly corrupt. The 
transcriber mistook the sound, and wrote — that is, instead 
of — at this; which, as I suppose, appearing in the proof, 
that is kind of thoughts, — the corrector, from Jove being 
the chief of the heathen deities, altered kind to king. 
Surely the sequent verse and context must tell us that 
we should read : 

By Jove, I wonder at this kind of thought ! 
These cates resist me, she not thought upon. 

Love unexpectedly springing in the bosom of Pericles, 
creates his astonishment ; even the cates that he attempts 
to eat go against his stomach; and Thaisa, on whom 
he had never thought before, becomes the sole object of 
his thoughts. 

Cupid made good his aim, Pericles and Thaisa were 
wounded at the same moment. Her stomach, if we may 
judge by her words, was as fastidious as that of Pericles ; 
for no dish at table was sufficiently delicate; she — 
" Wishing him her meat" meaning Pericles, whom she 
wished to be her mate, (husband.) The Author evi- 
dently plays on the word. 

According to Gower, "Appollonus" (our Pericles,) 
" sat ever in thought." 

Mr. Steevens is of opinion that this passage should be 
given to Simonides : but if Simonides was as anxious for 
Pericles to become his son-in-law, as Mr. Steevens would 
make us believe, why should he strive to make Pericles 
appear of little consequence in the eyes of Thaisa ? See 
the subsequent speech of Simonides, — 



PERICLES. 453 



He's but- 



A country gentleman ; 

He has done no more than other knights have done ; 

Broken a staff, or so; so let him pass." 

This is a sufficient proof that the speech in question 
belongs to Pericles : and that the old gentleman T s ap- 
petite was by no means impaired on the occasion. I 
refer the reader to Johnson and Steevens's edition for 
the various opinions on this passage. Though I have 
attributed the present corrupt reading to the transcriber, 
it is more likely that it originated in the printing-office : 
The compositor, perhaps, had composed the words — at 
this, but breaking the line, or part of it, placed the is 
after //?, instead of the at. Such blunders frequently 
occur. 



Scene III. — page 235, 

Simonides. and princes, not doing so, 

Are like to gnats, which make a sound, but kilVd 
Are wonder'd at. 

That a dead gnat should be a mark of wonder, is 
most wonderful indeed ! But the sense of the passage is 
shamefully perverted by the carelessness of the tran- 
scriber. Assuredly our Author wrote: 

■and princes, not doing so, 



Are like to gnats, which make a sound ; but skilVcb 
Are wonder'd at. 

Meaning: That the actions of princes should cor- 
respond with their dignified situation : — their wisdom 
should be great, and their sentiments liberal. Princes 
who do not possess these qualifications, are like to gnats 
which make a sound; but princes who are skilVdm the 
art of government, become objects of admiration, and 
are wondered at. 

Mr» Steevens would read: 

" And princes, not doing so, are like the gnat, 
Which makes a sound, but kill'd is wonder'd at.'.* 



454 PERICLES. 

Scene IV. — page 242. 

Helicanus. Try honour's cause; 

The word Try is evidently corrupt. It appears a 
misprint. I read : 

Cry, honour s cause! 

The nobles, thinking- that Pericles would not return, 
testify their choice ofHelicanus, and hail him with royal 
distinction — "Live, noble HelicanusV But Helicanus, 
true to his sovereign, and disdaining all ambitious views, 
reprimands their impatience, by telling them, that, 
instead of hailing him in so distinguished a manner, they 
should rather " Cry, — honour's cause!" i.e. That the 
principles of honour should be expressed, and not those 
of disloyalty. 



Scene IV. — page 242. 

Helicanus. Take I your wish, I leap into the seas, 

Where's hourly trouble, for a minute' 's ease. 

This corrupt passage is easily rectified. There was 
but right and wrong : the latter obtained the preference. 
Our Author wrote : 

Take I your wish, I leap into the sea, 
Where's hourly trouble : for a minute cease. 

As though he said — Hear me; — for a minute cease 
your importunity. He then entreats them to forbear, 
for twelve months longer, their election of a king; and, 
if Pericles does not return in that time, then will his 
aged patience bear the yoke of royal dignity. 

Though Helicanus may compare the throne to a 
troubled sea, yet I am strongly inclined to think we 
should read — "I leap into the seat:" — meaning, that 
seat so long vacated by Pericles. As for the words — 
a minute's ease and a minute cease, perhaps no two 
phrases could be more easily mistaken the one for the 
other; though, in sense, they are totally different. 



PELICLES. 455 

Scene V. — page 248. 

SlMONIDES. A*0 ! — 

Here comes my daughter, she can witness it. 
Errors of the present description frequently occur : — 
they are termed, in a printing-office, literal errors. Had 
an il/preceded the o, the error would have been noticed 
by the corrector; but as the N helped to make a perfect 
word, it escaped observation. We should read : 

So.'— 

Here comes my daughter, she can witness it. 

Simonides, surprised at the undaunted courage and 
honourable demeanour of Pericles, marks his astonish- 
ment, by emphatically using the word, So! — which may 
justly be interpreted to mean — really] or, Is that the 

case f 



ACT III, 



Scene I. — page 262. 

Pericles. Yet, for the love 

Of this poor infant, this fresh-new sea-farer, 

The allusion is to the sea-fowl called the mezc, which 

mezcls like an infant ; the word fresh, denotes the recent 

birth of the Princess : but the unprecedented compound 

—fresh-nezc, should, I think, give way to the Author's 

word ; who, if I am not much mistaken, wrote : 

Yet, for the love 



Of this poor infant, this fresh-mew sea-farer, 

When the mezcs hover about a ship at sea, or perch 

upon the masts, seamen think they portend danger. 

Dryden gives a lively image of this : 

" The vessel sticks, and shews her open'd side, 
And ou her shatter'd mast the mews in triumph ride.*' 

The m and n compartments, in the letter-case, are 
next each other, and frequently mix: the compositor 
took up an n instead of an w?, which making a perfect 
word with the ew, escaped the corrector's notice. 



456 PERICLES. 

Scene I. — page 264. 

First Sailor. Pardon us, sir; with us at sea it still hath been ob- 
served ; and we are strong in earnest. Therefore, 
briefly yield her ; for she must overboard straight. 

The old copy reads — " Strong in eastern" From 
these letters Mr. M. Mason formed the present reading-; 
but, however ingenious, the Author's original words 
must have the preference. 

The sailor, supposing the Queen to be dead, thinks 
that while she is kept on board the storm will continue ; 
and, in defending this opinion, (which Pericles calls 
superstition,) he says, that, at sea, it is a general ob- 
servation. But finding Pericles not inclined to credit 
his assertion, he starts another cause, which he thinks 
must have the desired effect, and prove that it is positively 
necessary for the preservation of the living, that the 
dead Queen should be thrown overboard ; he strengthens 
his argument by observing : — 

and we are strong in astern. 

This is a sea phrase, and by which the mariner means, 
That the wind and waves beat strongly against the stern 
of the vessel, as though the elements demanded that part 
of her to be cleared of the body. To this observation 
Pericles submits, and tells the mariner, he may act as he 
thinks meet. In the stern of a ship is always the state 
cabin. 

Observe, the old copy reads — eastern. Few words 
come nearer in sound, though, in point of meaning, they 
are as distant as the east is from the west. 

Though the above illustration is perfectly familiar 
and highly correspondent with the phrase, yet the sailor, 
in all probability, intended the word strong to bear this 
allusion, — That the Queen's body had become strong, 
(offensive) which argument Pericles could not resist. 



PERICLES. 457 

Scene I. — page 265. 

Perici.es. And aye-remaining lamps, 

The old copies read — " air remaining lamps" which 
reading is parallel in absurdity with the present emenda- 
tion. However, to the old copy I am indebted for ob- 
taining, as I hope, the original compound word. 

Pericles, reluctantly submitting to the necessity of 
throwing the Queen's body overboard, laments that 
due honours could not be paid her : — No monument to 
perpetuate her memory, nor area-manesing lamps to sur- 
round that monument. This adds to his afflictions, and 
causes him thus to lament : 

Where, for a monument upon thy hones, 

And area-manesing lamps, the helching whale, &c. 

The area is the open space round the sepulchre, in 
which he would have had the Queen's body interred; 
could he have had it conveyed to Tyre: and where, 
according to the honours paid to royal remains, area- 
manesing lamps would have been kept burning : maneing, 
or mane sing, if I prove correct, our Author obtained 
from manes. Let the Critic decide. 

The sound has been given to the word, but the tran- 
scriber had no idea of the sense; — perhaps knew not 
how to spell area, and therefore, made it air-re, — which, 
coming before maneing, produced air-remaining. 



Scene II. — page 270. 

First Gentleman. Rich tire ahout you, 

I believe that for tire, we should read Tyre; alluding 
to the rich habiliments worn at Tyre, and which 
luxuries had found their way into Ephesus. Tyrian 
robes, and stately canopies ornamented with Tyrian 
silks, were formerly of admirable workmanship : the 



458 PERICLES. 

Tyrian purple no country could ever equal. " Rich 
Tyre" we may, therefore, consider equally applicable 
to Tyrian silks, as rich Damask in allusion to the silks 
of Damascus. The title of this play might have induced 
the Author to sport a little with the word. 



Scene II. — page 272. 
Cerimon. Or tie my treasure up in silken bags, 

The old copy reads — a Or tie my pleasure up in silken 
bags," which Mr. Steevens changed to the present text, 
observing, and, perhaps, with too much confidence, — 
" Let the Critic who can explain this reading of the 
quarto displace my emendation." 

That the word treasure produces a meaning, and per- 
haps one that might prove most familiar to an unlettered 
mind, I admit; but, nevertheless, with all due deference 
to the learned Commentator, there is a beauty in the 
word pleasure, to which, I think, critical judgment will 
give the preference. 

Before I proceed in defence of the word pleasure, I 
cannot but observe, that a leading principle with many 
of Shakspeare's Commentators has been, not to alter the 
text where any sense could be obtained; hence, the 
almost innumerable parallelisms; consequently, Mr. 
Steevens found no sense in the reading of the old copy. 

Cerimon is a nobleman whose sole delight is in the 
active practice of humanity. To a mind stored with 
natural philosophy, he has added that of experimental; 
embracing in that the noble science of medicine;— in 
fact, he is an able physician. In wealth, he has no 
pleasure, save in relieving the wants of others : and in 
studying to obtain that knowledge which enables him 
to heal the wounded, and restore the diseased to health, 
all his pleasures lie. In it he finds " a course of true 



PERICLES. 459 

delight ;" while the "tottering honours" which wealth 
procures, are to him as rich cordials which satiate, and 
prove but a temporary gratification of sensuality. He 
is not like the penurious man whose pleasure springs 
from avarice; nor does he, like the miser, " tie up his 
pleasures in a silken bag!" — No; his pleasures are not 
of so perishable a nature, nor can he be plundered of 
them; they consist in " Virtue and cunning" — endow- 
ments to him " greater than nobleness and riches." 

It may not be amiss here to demand, — In what consists 
the pleasure of a miser ? — Where is the unlettered man 
that would not give a direct answer to so plain a ques- 
tion ? — Must he not say, in his riches ? One to whom this 
figure was more familiar might say, — in his money-bags : 
— Are not then his "pleasures tied up in bags?" — No 
matter whether they be made of silk or canvass. 

Here, then, is the nice distinction of the great Poet, — 
The pleasures of a miser lie in his money-bags ; no per- 
son shares those pleasures with him. But the pleasures 
of Cerimon (knowledge resulting from study) he is able 
to diffuse, by healing the wounded, giving health to the 
diseased, and by administering the balm of consolation 
to the afflicted. 

To tie up treasure, is to hoard it. How, then, can 
the hoarding of riches please either the fool or death? — 
The fool would scatter treasure : — a fool knows not how 
to appreciate its value : how to make it a blessing 
belongs only to the wise. Dissipation and luxury mostly 
attend the wealthy, and often abridge life. Must not, 
then, the prodigal's conduct (for few prodigals can boast 
much wisdom) be more pleasing to death than that of 
the miser? — The one shortens his days by intemperance; 
the other, by regularity, generally arrives to an ad- 
vanced age. 

Had Cerimon alluded to riches, his virtue must be 
doubted. Would not the egotist — the ostentatious 
egotist, appear? Would not the Pharisee be conspicuous, 



460 PERICLES. 

who proudly boasted that he gave to the poor? But, in 
this point, the Poet is cautiously delicate, for Cerimon 
is only permitted to speak of those pleasures he derives 
from wisdom, and the happiness he enjoys in making 
that wisdom conducive to the benefit of others; it is 
left for the gentlemen who have introduced themselves 
to his notice to speak of his character for liberality and 
benevolence; and this one of them attempts with 
cautious delicacy: — 

; but even 



Your purse still open, hath built lord Cerimon 
Such strong renown," &c. 



Now, had Cerimon alluded to his treasures, — that is y 
wealth, why should the gentleman make this pointed 
observation ? " but even your purse still open," &c. 

I have examined this passage with great caution, 
before I would attempt to controvert the opinion of an 
able and learned Commentator; and though one simple 
observation might have refuted Mr. Steevens's emenda- 
tion, yet, anxious to defend the Author, my conception 
of the passage has made me extend the note beyond my 
wishes. 

The observation alluded to is, that neither transcriber 
nor compositor could have erred ; for the word treasure 
(to the comprehension of either) were better adapted 
for silken bags than pleasure, had the latter not been 
distinctly pronounced and clearly written. 



Scene III. — page 286. 

Thaisa. Even on my yearning time ; 

There is no authority for this reading : it has been 
introduced by Mr. Steevens. The quarto 1619, and the 
folio 1664, both read: " Even on my eaning time." 



PERICLES. 461 

Various suggestions have been proposed to afford some 
appropriate word in place of caning: Mr. Rowe would 
read — yeaning. [This must be an error in Johnson 
and Steevens's edition. I suppose the Editor meant — 
yeaning, the term being, as Mr. Steevens justly observes, 
only applicable to sheep when they produce their young J] 
We have also — learning time, — yielding time; and the 
present — yearning time; but, surely, no time, past or 
present, knew such a phrase to be used by a female at 
the moment of, or relative to, her accouchement! — 
Absurdity is painted on the face of each, nor can a 
lineament appear suitable to the marked feature which 
Thaisa's meaning requires. I am confident our Author 
wrote : 

That I was shipp'd at sea, I well remember, 

Even on my ailing time ; 

Meaning : The natural time, when, from her state 
of pregnancy, she might expect to be indisposed; or 
about that period when her accouchement must take 
place. 

The transcriber, I would suppose, mis-spelled the 
word, and wrote — eating : and the / not being sufficiently 
legible, the compositor made — eaning. But, surely, it 
requires no argument to establish this correction; for 
modern delicacy can scarcely produce a word which con- 
veys more forcibly a female's meaning at that alarming 
period. 



ACT IV 

Page 294. 



Gower. — The unborn event 

I do commend to your content. 

The unborn event is perfectly correct. Gower means, 
the intended murder of Marina, and which being only 
in embryo, he desires the audience to be under no ap- 
prehension for the safety of Marina, 



462 PERICLES. 

Scene I. — page 295. 

Dioxyza. Let not conscience, 

Which is but cold, &c. 

This expresses, positively, that conscience is but of a 
cold nature. If then so cold, why should Dionyza be 
alarmed, or consider that an assassin's conscience was 
likely to inflame love in his bosom ? In morals, we are 
taught to form on opinion of man by his conscience : the 
more glowing the conscience, the more susceptible we 
are of self-impropriety, and, consequently, the more 
cautious in acting according to moral principles. But a 
cold conscience maintains the reverse ; it neither admits 
sentiments of pity nor compunction for crime : virtue 
cannot enter the steeled bosom, nor humanity fan a flame 
where no spark remains. Surely, then, the present text 
displays a position contrary to the object which Dionyza 
requires; for, certainly, her aim is to impress on the 
assassin's mind, that a cold conscience is best for the 
horrid deed in which she is about to employ him. We 
should read: 



Let not conscience, 



Which is best cold, &c. 

Thus we gain the distinction : Dionyza, however ma- 
lignant in disposition, seems alarmed by a certain warmth 
of conscience, but, determined on the destruction of 
Marina, she recommends a cold conscience to the assassin, 
that he may not be, in any measure, awakened to a sense 
of guilt. 

The letters which form the word best, (in writing) if 
not very plain, have so strongly the appearance of but, 
that by context only can the compositor be guided. 



Scene I. — page 295. 

Dionyza. inflame love in thy bosom, 

This passage is altogether different from the first 
quarto, which reads, — "in Jlaming thy love bosome." 



PERICLES. 463 

The meaning which the present reading conveys, is, 
that the assassin must guard against the beauty of Ma- 
rina, nor suffer love to inflame his bosom : yet, immedi- 
ately after. Ave have, that he is not to let love inflame too 
nicely \ Surely this is in direct opposition to the strong 
injunction of the preceding instructions. 

The error, in my opinion, lies in the word /ore, which 
should read, live. If the dot was omitted over the /. one 
word might have been mistaken for the other. With 
this correction, I think a good sense may be obtained: 



Let not conscience. 



Which is best cold, inflaming thy live bosom, 
Inflame too nicely. 

Thus, Dionyza is under no apprehension that love 
will inflame the assassin's bosom : What she dreads is, 
that conscience may awaken pity, and influence him to 
spare Marina. Therefore, that no compunction should 
arise, his cold conscience is to blow up the flame of 
villainy, until it becomes ardent in her cause; that 
every sentiment of pity may be repelled, and that he 
may prove a soldier in the sanguinary deed he has pro- 
mised to execute. 



Scene III.— page 313. 

Marina. or that these pirates. 

(JVot enough barbarous, had not overboard 

Thrown me. eve. 

I think it requires no argument to convince that the 
glaring tautology in this passage cannot be attributed to 
our Author. In fact, the meaning was veiled from the 
penetration of the early editors, and who, most probablv, 
changed the word. I am confident the original read : 
or that these pirate* 



fiYou enough barbarous. | had not overboard 
Thrown me. 6:c. 

When the pirates rescued Marina from the hands of 
the assassin, she did not consider them, in any respect, 



464 PERICLES. 

barbarous : but Now, they prove themselves enough bar- 
barous; because that, callous to humanity, they sell her 
to a bawd, who will not respect her chastity : a calamity, 
in her opinion, of far greater magnitude than to have 
been thrown overboard. 

Thus the repetition of the word not is done away, 
and a clear sense obtained. 






Scene III. — page 313. 

Marina. Thrown me, to seek my mother ! 
Though the preceding restoration give& Marina's 
meaning, yet I am certain we have not gained the Au- 
thor's text. The old copy reads : 

" Thrown me for to seek my mother." 
I read, as I believe the Author wrote : 

Thrown me forth, to seek my mother. 

If a parallelism be necessary, in the Sacred Writ will 

be found one, or more, perfectly apposite. See Jonah, 

ch. i. v. 12.— 

" And he said unto them, Take me up and cast me forth into 
the sea." 

Again ch. i. v. 15. — 

" So they took up Jonah, and cast him forth into the sea." 

It will be found, that, in the words— -forth to, if the h 
preceding t be not strongly aspirated, the t in forth is 
carried to the o in to, and consequently the h and t are 
lost : thus the transcriber's ear deceived him. 



Scene IV.— page 331. 

Go wer. See how belief may suffer by foul show ! 

This borrow 1 d passion stands for true old woe; 

By true old woe, according to Mr. Steevens, Gower 
means, the woe of the ancients, and in which dissimula- 



PERICLES. 465 

tion had no part. The elucidation is ingenious so far, 
because it forces a sense out of words that to many 
must prove incomprehensible. However, I believe the 
text corrupt, and that modern hypocrisy was intended 
by the Author to have a deeper concern in it than an- 
cient sincerity. I read: 

See how belief may suffer by foul show ! 

This borrow" d passion stands for rue-told woe ; 

The allusion is not only to the appearance of genuine 
sorrow, as denoted by the characters of the Drama, but 
also ip the foul show of affliction assumed by Cleon and 
Dionyza to impose on Pericles : they are supposed to 
assume a rueful countenance, while relating circum- 
stances of a woeful nature. 

The t was transposed by the compositor. 



Scene VI. — page 331 '. 

Lysimachus. That dignifies the renown of a bawd, no less than it 
gives a good report to a number to be chaste. 

This passage contains a curious blunder, and which 
must be attributed to the compositor. 

Most readers know, that the appellation of Mother 
Abbess, is frequently given to a bawd; and a brothel, if 
I mistake not, has been often called — a nunnery : with- 
out doubt, then, the unfortunate females who reside in 
it become nuns. Lysimachus, animadverting on the 
pretended modesty of the bawd, perceives Marina ap- 
proaching; and judging, notwithstanding her truly 
modest appearance, that she has as little claim to chastity 
as the bawd to modesty, draws a parallel between the 
two characters : 

That dignifies the renown of a bawd, no less than it gives a good 
report to a nun here, to be chaste. 

But, even if Lysimachus had not the modest ap- 
pearance of Marina in view, a perfect sense is obtained 

2 H 



466 PERICLES. 

by this correction, or rather restoration of the Author's 
words: for who would attribute chastity to a nun, 
though veiled and beaded, that was seen in a brothel? 

It is almost unnecessary to observe, that the licentious- 
ness of the stage, even in Shakspeare's time, scarcely 
admitted those appellations familiarly used to dissolute 
females, though that of bawd met no opposition : for 
this reason, the term used by Lysimachus conveys the 
character without wounding the ears of delicacy. See 
a subsequent part of this scene, where the same caution 
is observed: 

Lysimachus. " Now pretty one, how long have you 

heen at this trade?" 
Marina. " What trade, sir?" 

Lysimachus. " What I cannot name but I shall offend." 

The manner in which the error took place is obvious : 
the compositor read — number for nun here: characters, 
in fact, that resemble each other not less in writing 
than the words do in sound. 

The passage, thus corrected, bears also the explica- 
tion given by Mr. Steev ens; and is a strong satire on 
the intrigues carried on in convents. 



ACT V. 

Scene I. — page 354. 



Helicanus. Till the disaster, that, one mortal night, 
Drove him to this. 

Though this passage contains as gross an error as any 
in Shakspeare's Plays, yet it has passed all comment, 
save the alteration of one word. All the old copies 
read— "One mortal wight" which was changed to— 
" One mortal night" if I mistake not, by Mr. Malone. 

Can we, for a moment, doubt the following to have 
been the Author's text : 



PERICLES. 467 

Till the disaster that on mortals wait 
Drove him to this. 

That disaster, the death of his daughter. He had 
mourned for the the supposed death of his wife ; but 
never did despair overcome his reason, until shown the 
tomb of Marina by Cleon. 

It appears to me that the transcriber spelt the word 
wait — (weight) ; which the corrector, (and a strange 
wight he must have been) changed to wight: and Mr. 
Malone, to night. But what has night to do with the 
passage ? Had it been night when Pericles visited the 
tomb, there would have been a stage direction to this 
effect : (Enter Pericles and Attendants with torches.) 



Scene I. — page 356. 

Lysimachus. She, all as happy as of all the fairest, 

Is, with her fellow-maidens, now within 
The leafy shelter that abuts against 
The island's side. 

The old copy reads : 

" She 'is as happy, as the fairest of all, 
And, with her fellow-maids, is now upon 
' , The leafy shelter," &c. 

This extraordinary change and transposition of words 
I am inclined to think injudicious: If I could reconcile 
the word happy. I am confident of restoring the remain- 
der of the passage to the original reading. I am, how- 
ever, inclined to think that for happy we should read 
hardy ; which corresponds with the bold exercise and the 
undaunted courage of Marina, who is, from the descrip- 
tion given by Lysimachus, standing upon a branch of one 
of the trees, that abuts against the island's side; and which, 
to her was a. leafy shelter; for the surrounding and summit 
branches protected her from the rays of the sun. The 
alteration, therefore, of within, for upon, appears highly 
improper; particularly as "within the leafy shelter," 



468 PERICLES. 

must be considered zoithin the grove or wood; and if 
there, how could she behold the u triumph," which had 
attracted her and her companions to the island's side? 

But the word that we require must maintain its in- 
fluence, so as to admit a comparison between it and Marina 
for fairness. In the old copy, he calls her "the fairest 
of ally This takes in the entire creation; or rather, 
that she is "as happy as the fairest of all." This is so 
indefinite, that she might be quite ordinary, yet so re- 
conciled to her ugliness, as to be as happy as the fairest 
of all. To be brief, I am certain that our Author com- 
pared her, for fairness, to an opal; which the compositor 
not understanding, made — of all. Opal, I believe, was 
formerly spelt opall, and which, in MS. unless the p be 
particularly well formed, cannot be distinguished from 
— of all. The fairer the opal, the more hardy it is, and 
consequently of greater value. Hardy might have lost 
its place in the text, thus : the compositor turned the d 
the wrong way, in the word hardy, which made harpy ; 
and the corrector, certain that harpy was wrong, marked 
a p in place of the r, and thus happy for hardy. See the 
text corrected : 

She is as hardy as the fairest opal, 
And, with her fellow-maids, is now upon 
The leafy shelter that abuts against 
The island's side ; 

Thus there are but three letters changed from the 
reading of the old copy, and, I presume, both measure 
and sense obtained; whereas, the present text displays, 
in the first verse, three transpositions ; and the introduc- 
tion of the word all, for is. In the second verse, we find 
Is with for And with :— fellow-maidens, for fellow-maids ; 
and within, instead of upon. 

The opal is a rich gem ; its colour resembles the fairest 
mother of pearl : the fairer the opal, the harder, and of 
greater value. Thus we must infer, that Marina is not 
only hardy as the opal, but as fair; and, to prove her 



PERICLES. 469 

hardiness, she is sporting with her fellow-maids upon the 
leafy shelter: in short, climbing- trees and using such 
exercise as none but an intrepid mind and hardy consti- 
tution would dare attempt. 

Our Author uses opal elsewhere : 

" Thy mind is a very opal.'' 1 ' 
Meaning : That it is pure and fair. 



Scene I. — page 368. 

Pericles. and are no fairy ? 

No motion ? — Well ; speak on. 

In the old copy this passage is thus : 

" But are you flesh and blood ? 
Have you a working pulse, and are no fairy ? 
Motion well, speak on." 

Surely, this reading must be correct. Pericles, con- 
vinced that his daughter is dead, doubts the mortality 
of Marina : therefore, after interrogating her, and to be 
convinced that she is really of corporeal substance, he 
tells her to u Motion well" i.e. to use those motions 
natural to a human being, in giving a lively representa- 
tion of circumstances. 



Scene I. — page 369. 

Marina. You'll scarce believe me; 'twere best I did give o'er. 

All the old copies read, — "You scorn to believe me." 
It is true, Pericles has not treated Marina with scorn ; 
but she thinks her narrative has so much the appearance 
of improbability, that he does not credit what she ad- 
vances. That the passage, as in the old copies, must be 
incorrect, there is no doubt ; for we can scarcely think 
our Author's judgment would have been so far astray, 
where he had many words that would afford a pure 



470 PERICLES. 

sense, and confine the verse to its limited measure. I 
believe he wrote : 

You scorn belief; 'twere best I did give o'er. 

And certainly Marina has every reason to think that 
he discredits her narrative; for, when she tells her 
name, Pericles says, — " O, I am mock'd:" And when 
she observes that her mother died in giving her birth, 
the phrase he uses is enough to make her believe that 
he scorns belief : — " O, stop there a little!" as though 
he said, — Stop ; — Now you go beyond every limit of 
probability. 



Scene Y.—page 372. 

Pericles. but tell me now 

(As in the rest thou hast been god-like perfect,) 

My drown'd queen's name, thou art the heir of kingdoms, 

Though the present reading conveys a meaning, yet 

a word seems to have been lost. I have no doubt but 

the original read : 

but tell me now 

(As in the rest thou hast been god-like perfect,) 

My drown 1 d queen's name, then thouWt the heir of kingdoms. 

This is the last proof he requires, which, if answered, 
then he declares her — the heir of kingdoms. Without 
this proof, Pericles would not be perfectly satisfied that 
Marina was his daughter. See the subsequent speech 
of Pericles, when every doubt is removed : 

" Now, blessing on thee, rise; thou art my child." 

It is then onlv that he is convinced. 



FINIS. 



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